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EARLY
ONCERT-LIFE IN AMERICA

(1731-1800)

0. 0. SONNECK

V^/^.? / rr

LEIPZIG

BKEITKOPF & HARTEL

1907

>VL

TO MY WIFE

PREFACE.

WITH this book I attempt to lay the historical foundations of one im-
portant side of our country's musical life. Intended as a source-book, it
is addressed to those seriously interested in musical history and it is cast in a
form peculiar to source-books, which necessarily resemble mosaics and —
mosaics are not to everybody's taste. While I have taken pains to leave
as little dust as possible on these pages, I fear that they lack that literary
brilliancy which makes, at first reading, even a poor book attractive. Those
sterner critics who will take issue with me on that score I beg to remember
how very difficult a task it is to turn a virgin- forest into a garden.

On the other hand, as this work is addressed to the student more than
to the amateur, his famiUarity with the history of music in Europe was
taken for granted. Therefore European conditions were discussed only
where I disagreed with current doctrines, where a European background
was necessary for the proper historical perspective, or, where danger-signals
might be helpful. References to early opera in America were kept as brief
as possible because I hope to complete a comprehensive essay on this sub-
ject before long. For the same reason, other topics, bearing indirectly on
our early concert life, were kept in the background. Similarly, biogra-
phical and bibliographical data were included in so far only as they seemed
called for or affected the biographical notes given in the index to my
Bibliography of Early Secular American Music.

In order to preserve as much of the eighteenth century flavor as possible,
names have been spelled as they appeared in my sources and only, when it
would have been cruel to let the reader wrestle with the printer's devil,
have I adopted the form now commonly used. Probably it will also prevent
confusion if I remark that, as a rule and for obvious reasons, not the earliest
announcements but those nearest to the date fixed for the concert have
been quoted.

The data on concerts given in our country until 1750 have been published
in form of a separate article in the New Music Review, 1906.

Washington, D. C, May 6, 1906.

O. G. Sonneck.

CONTENTS.

Page
INTRODUCTION 1

CHARLESTON AND THE SOUTH 10

Charleston S. C: 1732—1765 — The St. Coecilia Society — 1766—1775 —
1781—1800; Annapolis, Md. ; Baltimore, Md. ; Williamsburg, Va., Fredericks-
burg, Va., Petersburg, Va., Norfolk, Va., Richmond, Va., Alexandria, Va.,
Savannah, Ga., New Orleans, La.

PHILADELPHIA 65

1757 — 1776: Francis Hopkinson, James Bremner and Giovanni Gualdo's \
concerts; The War of the Revolution ; (John Bentley's) City Concert 1783—1788,
1792 — 1793; How the history of music in America should not be written;
Duplessis' subscription concerts; The Amateur concert 1786 — 1791; Amateurs
and Professional Concert, 1794; IVIrs. Grattan's Ladies Concert, 1796 — 1798;
Summer concerts 1786 — 1800; Andrew Adgate, the Uranian Academy, its
Uranian Concerts, and other choral concerts; Benefit concerts 1783 — 1800;
'Lectures, moral and entertaining' and other Theatre-concerts; Bethlehem, Pa.

NEW YORK 158

1733 — 1760: The first subscription concerts; Ranelagh Garden concerts
and other open-air entertainments; Benefit concerts 1762 — 1775; Herman
Zedtwitz, William Tuckey, the pioneer of choral concerts and the first American
performance of the Messiah; The War of the Revolution; William Brown's
New York Subscription Concerts, 1785—1786, 1788—1792; the Subscription
Concert of Hewitt etc. 1792— 1793; The aty Concert and the Old City Concert,
1793 — 1798; Musical Societies; Summer concerts, 1793 — 1800; Benefit concerts
1786—1800; New Jersey; Albany.

BOSTON AND NEW ENGLAND 2.50

1731—1761; Subscription concerts 1761—1775; "Public" concerts at
Concert Hall, 1763—1773; Benefit concerts 1767—1775; Josiah Flagg; James
Juhan ; W. S. Morgan ; William Selby, Bostons' princeps musices; The Musical
Society of Boston, 1786—1789; Subscription concerts, 1790—1793; Benefit
concerts 1779 — 1800; General remarks on music in New England; Salem, Mass. ;
Newport, R. I. ; Providence, R. I. and other cities of the North ; Hartford, Conn.

CONCLUSION 32-1

INDEX 326

INTRODUCTION.

JOHN BANISTER is generally credited with ha\ing given the first pubhc
concert to which admission was gained by way of payment. After
losing his place at the EngHsh court, he hired "over against the George
Tavern in White Friars", London, a room with "a large raised box for the
musitians, whose modesty required curtains", as Roger North puts it in
his Memoirs, and advertised the first of his daily public afternoon-concerts
for Dec. 30, 16721). But it has always appeared rather incredible to me
that the democratic idea of pubUc concerts should have taken concrete
form at so late a date. In view of the fact that about forty years only had
elapsed since the discovery of opera when pubhc opera was introduced at
Venice in 1637, this sceptical attitude towards tradition \vill be pardoned
if it is further remembered that concerts, in one form or the other, certainly
antedated the birth of opera and became indispensible to the happiness
of music-lovers during the seventeenth century.

Mr. Louis C. Elson is the possessor of the constitution, hst of members,
etc. in a latin manuscript volume pertaining to a musical club which existed,
as the entries prove, at least from 1560 to 1588 presumably at Amsterdam,
the members frequently joining with distinguished visitors in consort^).
That this was not the earhest musical society on record, the term implying
performances of music, in other words, concerts, goes without saying as
in Bologna and Milan such existed under the venerable name of Accademia
as early as 1482 and 1484 and rapidly increased there and elsewhere until
in the seventeenth century some Itahan cities possessed three or four^).
In France, as Brenet pointed out in her admirable book on 'Les Concerts
en France sous I'ancien regime', the poet Jean Antoine de Baif and the
musician Joachim Thibaut de Courville founded not later than 1567 the
Academic de Baif, receiving therefore lettres patentes in 1570 and though
mixed literarv-musical entertainments were offered to the members, yet

1) See Davey's History of English Music.

2) Described in the Musician, 1904, p. 464 though ^Ir. Elson did not take cognizance
of the great importance of his find for the history of musical societies.

3) Grove, New ed., article Academia.

Sonneck, Early Concert Life. 1

— 2 —

we may see in this academy the cradle of concerts at Paris. Nor did the
provincial towns remain in the rear of the movement for very long as such
academies, though their financial and material side escaped even the scru-
tinizing eye of Brenet, were frequent throughout France about 1625 and
in Mersenne's time (1588 — 1648) assemhlees de concerts evidently were a
common occurrence.

In the German speaking countries such musical societies seem to have
been of somewhat later origin, though the Cantorey Gesellschaften and
their antipodes, the convivial gatherings at which the rollicking Quod-
libets were sung, did much to pave the way for the Collegia Musica, the
term originally being merely the latin for "eine musikaUsche Zusammen-
kunft" (Walther) and not implying an academic flavor. In Switzerland
the first Collegium Musicum with weekly meetings has been traced by Nef
to Zurich and to the year 1613, others soon following in other Swiss towns.
A few years later, in 1616, Prague saw a similar club spring into existence;
Philip Spitta has entertainingly wTitten of the Musikalische Societat of
1617 at Mlihlhausen, and so on until Germany, like France, was well sup-
plied with musical societies whose members to their own and their guests'
delight played and sang the music of their times, as becomes sensible ama-
teurs, without pretensions to virtuosity, this probably being true even of
the famous Collegium Musicum founded by Mathias Weckmann and "zween
vornehme Liebhaber der Musik" at Hamburg in 16601).

In England the movement appears to have set in not later than 1600,
otherwise Dekker's line in 'A Knights Coniuring' of 1607

"To this consort roome resort none but the children of Phoebus (poets and
musitions)"

would be incomprehensible. A few decades later, Pepys mentions in his
diary a concert at 'The Mitre' in 1659 — 60 with no hint that concerts were
still a novelty (Davey). This impression is strengthened by Roger North
who describes the weekly meetings held in a tavern near St. Paul's

„Where there was a chamber organ that one PhiUips played upon, and some
shop keepers and foremen [apparently forming a musical club!] came weekly to
sing in concert, and to hear and enjoy ale and tobacco, and after some time the
company grew strong."

1) Not 1668 as generally stated. See Max Seiffert's 'Mathias Weckmann und das
Collegium Musicum in Hamburg' (Sbde. d. IMG. 1900—1901, p. 76—127). This Colle-
gium jNIusicum of 1660 is said to have been the first founded in Germany, but I am
confident that others will be found to antedate it, once an exhaustive history of musical
societies in Germany is attempted. Thus, for instance, Alfred Heuss recently drew
attention to a remark in Mattheson's Ehrenpforte which would lead to infer that Jodocus
Willichius founded one at Frankfurt a. d. Oder towards the end of the sixteenth century
and it is also well known that such literary clubs as Harsdorfer's Hirten und Blumen
Orden an der Pegnitz (1642) in Niirnberg resembled the Academie de Ba'if in the com-
bination of literary and musical interests.

Finally Anthony Wood who was at Oxford University in 1651 has left

us a vivid account of the practice of chamber music for viols at Oxford

where he went to a weekly meeting of musicians^ amateurs and professionals,

combining into a band of over sixten performers.

Of this weekly music meeting, Hawkins remarked in his History of

Music, after enumerating the names of the "Noblemen", "Drs" (Doctors),

"Masters" and "Strangers" who constituted it in 1665 that it

. . . was the first subscription concert of which any account is to be met with:
indeed it seems to have been the only association of the sort in the kingdom ; the reason
of this might be, that the pretenders to the love of music were not then so numerous
as they have been of late years. A concert was formerly a serious entertainment,
at which such only as had a real and genuine affection for music assembled . . .

Selected at random as these notes are, they suffice to prove that the idea
of musical cooperation had gained root in Europe before the period with
which this book occupies itself. Now the concerts given by the musical
clubs whether they cultivated vocal or instrumental music or both, were
public only in so far as the members chose to extend admission by way
of invitation, the guests, as for instance in Switzerland, appreciating the
courtesy with substantial souvenirs. Still less public were, of course, the
concerts given by kings, princes and noblemen at their courts and palaces
to the aristocratic Avorld, but rumors of the splendour of Cromwell's
State Concerts, for instance, or of the daily concerts and spectacles
at Versailles must have spread into the masses and our innate desire for
forbidden fruit certainly helped to drive a democratic wedge into the
absolute exclusiveness of the music -loving aristocracy and the relative
exclusiveness of the bourgeoisie as maintained in their musical clubs. The
general public had to be content with the glowing accounts of domestics,
musicians and privileged friends except on such fairly frequent and regular
occasions when by order of the sovereign or the city-fathers the court-mu-
sicians, Stadtpfeifer and Ratsmusikanten would exhibit their skill in public.
Thus entertainments partaking of the character of public concerts were
not altogether missing in the daily life of a people, more passionately de-
voted to home-music of the best kind and on terms of closer social intimacy
with the musicians than is now unfortunately the case^).

1) See Naylor Shakespeare and music, 1896, p. 12.

2) By the way, those who, a few years ago, hailed the socalled Verleger-Concerte
at Leipzig as a novelty, will perhaps hear with regret that even this happy idea was
anticipated in the sixteenth century. Says N. Yonge in the dedication of his collection
'Musica transalpina', 1588 to Gilbert Lord Talbot:

"... a great number of Gentlemen and Merchants of good accompt (as well of
this realme as of foreign nations) have taken in good part such entertainments of
pleasure as my poor abilitie was able to afford them both by the exercise of Musicke
daily used in my house, and by furnishing tliem with Bookes of that kind yearly sent
me out of Italy and other places."

However, public concerts proper in all probability claim an humbler
origin. Had the gentleman or merchant of Shakespeare's time listened to
or made others listen at the barbershop to the "stringed noise" of the lute
or viol, to use Milton's words, until his turn came to busy the deft hand and
gossiping tongue of the tonsorial artist, and did he then proceed for a bumper
of ale to the taverns or "Musik Houses" of which there were many in the
time of Charles II, as Hawkins says, he was almost sure to find there one
or several ambulant musicians, the socalled "Waits", who, for a consideration,
would strike up his favorite Pavana, Saltarello, Air or Jig. And if we
remember that by far the majority of pubUc concerts were still held at
taverns at the end of the eighteenth century, it will not be considered a
fantastic idea, I hope, to trace the sources of our public concert-life to the
taverns and their fiddling parasites. From the custom to collect the fee
after the concert from everybody present to an arrangement by which such
thirsty souls, who desired to enjoy music in privacy, agreed to pay an equal
share, in other words an embryonic form of obhgatory admission-fee was
but a short and logical step. Nor can I make myself beUeve that the idea
of payment on a still more dignified and sohd business basis, with its obliga-
tions, rights and advantages to both the performer and the audience, whether
congregating in taverns or in the homes of music lovers, was either foreign
to that age or remained so until John Banister's time. Indeed there are
signs that it did not. If Mathias Weckmann's Collegium Musicum was
"offentlich, sowohl fiir fremde als einheimische Liebhaber ausgestattet"
it is plausible that the fifty instrumentalists and singers forming the club
and performing weekly in the refectory of the Dom charged admission in
order to defray expenses and if Jacques de Gouy describes the concerts
spirituels held before 1650 at the house of Pierre de Chabanceau de la Barre
as the first given at Paris, though they were not, Brenet was justified in
arguing that de Gouy's statement would be acceptable only if he meant
concerts publics et payants.

Should after all, John Banister's innovation have consisted merely in tliis
that he was the first to planfully make pubhc concerts a regular and more
dignified feature in the musical Kfe of the city? Again it is Hawkins who
allows us to draw this inference. To be sure, he seems over-anxious to credit
Thomas Britton with the introduction of public concerts simply because
the assistants and patrons of the small-coal man belonged to the upper
classes (and Burney, of course, when copying his in many respects histo-
rically more important rival, was altogether too much of a historian for^
aristocrats to question the wisdom of such a course) yet Hawkins though
reluctantly enough, felt obhged to write (v. 5, p. 1):

In the interim it is proposed to speak of those musical performances with ^^hich

the people in general were entertained at places of public resort, distinguishing between
such as were calculated for the recreation of the vulgar and those which for their ele-
gance come under the denomination of concerts. The first of these were no other than
the musical entertainments given to their people in Music Houses, already spoken
of, the performers in which consisted of fiddlers and others, hired by the master of the
house, such as in the night season were wont to parade the city and suburbs under
the denomination of the Waits. The music of these men could scarcely be called a con-
cert, for this obvious reason, that it had no variety of parts, nor commixture of different
instruments: Half a dozen of fiddlers would scrape Sellenger's Round, or John come
kiss me, or Old Simon the King with divisions, till themselves and their audience were
tired, after which as many players on the hautboy would in the most harsh and dis-
cordant tones grate forth Green Sleeves, Yellow Stockings, Gillian of Craydon, or some
such common dance-tune, and the people thought it fine music.

But a concert, properly so called, was a sober recreation ; persons were dra^vTi to
it, not by an affectation of admiring what they could not taste, but by a genuine
pleasure which they took in the entertainment. For the gratification of such the
masters of music exerted their utmost endeavours and some of the greatest eminence
among them were not above entertaining the public with musical performances, either
at their own houses, or in more commodious, receiving for their own use the money
paid on admission. And to these performances the lovers of music were invited by
advertisement in the London Gazette . . .

And then follows not only John Banister's advertisement of his concert
on December 30, 1672 but also the announcements of his concerts in subse-
quent years and many others until 1698. Yet Hawkins sought to brush
John Banister aside in favor of Thomas Britton! Whatever his reasons for
tliis strange contradiction might have been, Banister's example was followed
in 1678 by Britton, whose famous concerts in Clerkenwell lasted until 1714.
Another concert room, independent of ale and tobacco, was opened about
1680 in Villiers Street at the York Buildings. If Mr. Davey says that the
entertainments there became very fashionable he is probably mistaken as
Roger North, evidently alluding to the same undertaking, asserts that the
music masters finding that "money could be got that way" had the room
built in Villiers Street but that their socalled Music Meeting failed for lack of
proper management. It is also Roger North who says that about the time
of Banister's venture a society of gentlemen of good esteem met "often for
consort". Their room becoming crowded they took one in a tavern in
Fleetstreet but, and this remark is interesting, disbanded when the taverner
made a "pecuniary consort of it". However the tide was not to be stemmed
and public concerts soon became a permanent, prominent and ever growing
branch of concert-hfe in London with those of the Academy of Ancient Music
(1710), the Castle Society (1724), and Mrs. Cornely's subscription concerts
(1765), conducted by Abel and Bach, as principal stepping stones, quite
apart from the benefit concerts given by Gluck, Quantz, and innumerable
other virtuosos.

On the continent, the concert-life continued to center in the activity
of the Collegia Musica, Academies and other more or less private organi-

— 6 —

sations. Brenet tells us that about 1700 it had become quite customary for
music teachers to give musicales at their homes "pour s'attirer pratique"
and that in 1724 the monthly musicales, given since about 1720 by Crozat,
the richest man in Paris, were combined with the 'Concert Italien' of
Mad. de Prie on the subscription basis, the sixty members wittily being
dubbed gli Acadetnici 'paganti, but it remained for Philidor to introduce
periodical concerts, in appearance and principle really public. This he
did with his 'Concert Spirituel' of 1725, but it should be remembered that
these concerts took place at the Academic Roj^ale de Musique only on days
of great rehgious festivals when operatic performances were prohibited and
that they originally were subject to other curious strictures.

By this time Liibeck had enjoyed her unique 'Abendmusiken' on the
five Sundays before Christmas for more than fifty years. Founded by Buxte-
hude in 1673 and blessed with the fruits of his genius these 'Abendmusiken',
though perhaps not in theory, practically were public sacred concerts with
admission fee. Later on, Telemann founded in 1713 the 'wochentliches
grosses Concert im Frauenstein' at Frankfort o/M., continued in 1723 by
the 'Winter Concert' which formed the back bone of Frankfort's organized
concert-life until the end of the century i). It was also Telemann who after
his removal to Hamburg introduced similar subscription concerts about
1720 first in the Drillhaus and since 1722 at his home, performing princi-
pally his own vocal music of larger compass. Though Telemann retained
for both his ventures the title of Collegium Musicum, the entertainments were
really more public than private^). This was certainly the case with the
weekly 'Musikalische Concerte' at Leipzig, the one under Joh. Seb. Bach
and the other under Joh. Gottlieb Gorner, the performers being recruited
to a large extent amongst the students, for Mizler in his Neu-eroffnete Musi-
kalische Bibliothek, 1739 says (I, 63) plainly enough:

"Die beiden offentlichen Musikalischen Concerten, oder Zusammenkiinfte, so hier
Avochentlich gehalten werden, sind noch in bestandigem Flor."

In Berlin and Vienna the democratic idea of public concerts was naturally
slower in assuming permanent shape than in such cities as Frankfort, Ham-
burg or Leipzig and thus we notice that in Berlin the 'Akademie', the 'As-
semblee', Agricola's Concert, and especially the 'Musikiibende Gesellschaft'
still retained about 1750 an air of exclusiveness and that their concerts were
decidedly more private than public in character^). If furthermore Hanslick

1) Israel, Frankfurter Concert -Chronik von 1713 — 1780.

2) Sittard, Geschichte des Musik- u. Concertwesens in Hamburg. On the other
hand the famous cuUnary- concerts given by Count Eckgh at Hamburg in 1700 — 1701
at which ReLnh. Keiser conducted himself "mehr als ein CavalUer, denn als einMusikus"
Avere private. (See Mattheson.)

3) See Marpurg, Hist.-Krit. Beytrage, 1754/5, Entwurf einer ausfiihrlichen Nach-
richt von der "Mvisikiibenden Gesellschaft zu Berlin".

failed to trace public concerts at Vienna before 17401)^ this failure cer-
tainly is significant enough, though, or rather because, Hanslick's statement
is not correct. He overlooked Mattheson's ironical entry in the 'Musika-
lische Patriot' (p. 26) :

"Meiner Correspondenten einer . . . meldete mir vor einiger Zeit aus Wien, dass
daselbst ein gewisser netter Clavier Spieler, etc. ein Concert gehalten, wobey sich
die Liebhaber so haufig eingestellet hatten, das.s, nach geschlossener Rechnung, just
101/2 gute Grosclien von dem Maestro eingebiisset worden; anstatt, dass er vermuthet
haette, einen guten Beutel voUer Gulden davon zu streiclien."

Consequently public concerts of the benefit type were actually given
at Vienna at least as early as 1728 but they seem to have been sporadic.
Nor does it appear from the pages containing the quotation that the fate
of this particular maestro was exceptional in German cities. Indeed men
like Mattheson seem to have cultivated a grudge against the virtuosos
especially the Italian, who were rapidly forcing — and not always in a,
manner legitimate or artistic — a new element into the musical life of their
time. To have foreseen that the musical life of Europe was irrisistibly
gliding into democratic channels by sheer force of the underlying current
in general sociological conditions and by the equally strong trend towards
disintegration in the evolution of musical forms and their vehicles of per-
formance, in short the steadily crystalUzing distinction between orchestral
and chamber music with all the consequences, to have clearly foreseen this
could not reasonably be expected of Mattheson and his contemporaries.
However, without going too far into evolutional theories, this much appears
from ail contemporary and historical accounts to be certain: the public
concert-life of German cities remained in an undeveloped condition for
decades after John Banister's innovation had borne plentiful fruit in
London. This fact is of great importance and carries with it obvious
inferences if we wish to assume a proper and impartial attitude towards the
early history of concert-hfe in the British Colonies of North America.
When reading the histories of music in America we almost gain the
impression that the emigrants of the seventeenth century detested not so
much the religious, political or economic atmosphere of Europe as the
musical and we feel overawed by the constellation of mysterious motives
prompting Providence to send to our shores out of all the millions who
inhabited Europe just those few thousand beings who had no music in their
souls. Now, the Puritans, the Pilgrims, the Irish, the Dutch, the Germans,
the Swedes, the Cavaliers of Maryland and Virginia and the Huguenots
of the South may have been zelots, adventurers, beggars, spendthrifts,
fugitives from justice, convicts, but barbarians they certainly were not.

1) Hanslick, Geschiclite des Concertwesens in Wien. 1869.

Until some historian displays the courage, the skill and the patience to
unearth and collect the data pertaining to our musical Ufe before 1700 all
ponderous meditations on the subject will remain guesswork. Possibly,
even probably, music was at an extremely low ebb, but this would neither
prove that the early settlers were hopelessly unmusical nor that they lacked
interest in the art of 'sweet conchord'. It was simply a matter of opportunity,
for what inducements had a handful of people, spread over so vast an area,
strugghng for an existence, surrounded by virgin-forests, fighting the Red-
man, and quarelhng amongst themselves to offer to musicians? We may
rest assured that even Geoffrey Stafford, "lute and fiddle maker" by trade
and ruffian by instinct, would have preferred more lucrative cKmes and
gracefidly decUned the patronage of musical Governor Fletcher had he not
been deported in 1691 to Massachusetts by order of ,ttiis Majesty King
William along with a batch of two hundred other Anglo-Saxon convicts i).
In fact, as Mr. Elson pointed out 2), the 'Observations made by the Curious
in New England', printed at London in 1673, inform us that "in Boston
there are no musicians by trade". Of the dilettanti nothing is said, but
that such existed in the Colonies, we know well enough from Sewall's diary
and as the early settlers were not unhke other human beings in having
voices, we may take it for granted that they used them not only in church,
but at home, in the fields, in the taverns, exactly as they would have done
In Europe and for the same kind of music as far as their memory or their
supply of music books carried them. That the latter, generally speaking,
can not have been very large, goes without saying, for the emigrants of
those days, even the well-to-do, had but vessels like the Mayflower — a
wonderful box of Pandora though she must have been — at their disposal
for the storage of household goods that were absolutely necessary. This
would also explain why so seldom musical instruments are mentioned in
the inventories of those days. They were to be found, however, in the
homes of the wealthy merchants of the North and in the homes of the still
more pleasure seeking aristocratic planters of the South. Indeed, there
can be httle doubt that the nearest approach to a musical atmosphere in
feeble imitation of European conditions was to be found in the South rather
than in the North. Still, we might call the period until about 1720 the
primitive period in our musical history without fear of being convicted of
hasty conclusions.

After 1720 we notice a steadily growing number of musicians who sought

1) See the amusing account of Geoffrey Stafford in Spillane's History of the Ame-
rican pianoforte, p. 14.

2) See his book on 'the National Music of America', p. 46.

their fortunes in the Colonies i), an increasing desire for organs, flutes,
guitars, vioUns, harpsichords, the establishment of "singing schools", an
improvement in church music, the signs of a budding music trade from
ruled music paper to sonatas and concertos, the advent of music engravers,
publishers and manufacturers of instruments, the tentative efforts to give
Enghsh opera a home in America, the introduction of public concerts, in
short the beginnings of what may properly be termed the formative period
in our musical history, running from 1720 until about 1800. If I further
maintain that during this period secular music developed more rapidly
than sacred and soon became the more important of the two, a comparison
between the history of our early sacred music, with which we have been
fairly well acquainted, and this history of our early concert life — together
with opera, the other main branch of secular music — will substantiate
my theory contrary to popular axiom though it may be.

1) In this connection a glimpse into Boston of "ye olden Time" may afford
entertainment. Mr. Thomas Brattle, a wealthy Puritan and a man of artistic in-
stincts, bequeathed in 1713 an imported organ to Brattle Square Church. It was
promptly rejected for religious reasons and was then presented, in accordance with
the will, to King's Chapel, the vestry procuring in a Mr. Price, the first organist
as "the sober person to play skilfully thereon with a loud noise" as Mr. Brattle put
it. The second organist was Mr. Edward Enstone, imported from England in 1714
at a salary of £ 30 yet" with dancing, music etc" it was thought it would answer
(See Hist, of King's Chapel). Accordingly he filed on Feb. 21, 1714 a "petition for
liberty of keeping a school as a Master of Music and a Dancing Master 'but it was
disallowed by ye Sel. men." Not withstanding this refusal Mr. Enstone opened
his school and the Select Men felt so chagrined by his impertinence that they
promptly instructed in the following year the town-clerk to present "a complaint
to Session." This the town-clerk probably did but evidently Mr. Enstone and not
"ye Ssl. men" carried the day for in 1716 Mr. Enstone inserted in the Boston News
Letter on April 16—23 this instructive~"a(Jvertisement, a veritable historical docu-
ment. "This is to give notice that there is lately sent over from London, a choice
Collection of Musickal Instruments, consisting of Flageolets, Flutes, Haut-Boys, Bass-
Viols, Violins, Bows, Strings, Reads for Haut-Boys, Books of Instructions for all
these Instruments, Books of ruled Paper. To be Sold at the Dancing School of
Mr. Enstone in Sudbury Street near the Orange Tree, Boston.

NOTE. Any person may have all Instruments of Musick mended, or Virgenalls
and Spinnets Strung and Tuned at a reasonable Rate, and likewise may be
taught to Play on any of these Instruments above mention'd ; dancing taught
by a true and easier method than has been heretofore."

Mr. Enstone still apjDears to have resided at Boston in 1720 advertising him-
self as dancing master and keeper of a boarding house "where young Ladies may
be accommodated with Boarding, and taught all sorts of Needle Work with Musick
and Dancing, etc."

CHARLESTON^) AND THE SOUTH.

TXTHEN and where the first public concert took place in what are to-day
I T the United States of North America would be difficult and useless to
answer. Difficult, because the earliest concert recorded in our newspapers,
diaries, documents, etc. by no means would imply it to have been the first;
useless because the history of our concert hfe as concert-life could not reaso-
nably be deducted from a stray concert without noticeable traces. Still,
there is a good deal of fascination in unearthing first events and it must be
admitted that chronology, too, imposes certain duties on the historian.

The earliest allusion to a pubUc concert in our country of which I am
aware dates back to 1731 but it would not surprise me to see still earlier
references brought to light, now hidden in some neglected source of in-
formation. If theatrical performances, however primitive, seem to have
been given at New York as early as 1702 including such of the 'Fool's
Opera' — we are indebted to the autobiography of the adventurer and
comedian Anthony Aston for the statement — and if between 1702 and
1730 other performances have been traced^), then we might hesitate in dat-
ing the first concert in our country as late as 1731.

Though this concert was advertised in the Weekly News Letter of Boston
and though, therefore, Boston seems to have the right of precedence, I pre-
fer to trace the earliest concerts given at Charleston, S. C, be it only to em-
phasize the fact that New England's share in the development of our early
musical life has been unfairly and unduly overestimated to the disadvantage
of the Middle Colonies and the South.

A few months only separate the concert given on Dec. 1731 at Boston

1) Population: 1790—163.59; 1800—20473 inhabitants. With one or two excep-
tions all similar data on the population of the cities appearing in this book have been
gleaned from the statistics on "Comparative population of thirty-two of the largest
cities in the United States", as printed in the Seventh Census, 1850. It might also
serve a useful purpose to remark here that Mr. B. Franklin Dexter has estimated the
entire population in the American colonies at onlv 400 000 inhabitants in 1714,
1 200 000 in 1750, 2780000 in 1780 and 4 000 000 in 1790.

2) More about Mr. Daly's and Mr. ]\IcKee's discoveries will be said in a volume
on 'Early opera in the United States'.

— 11 —

and the earliest — to my knowledge earliest — concert at Charleston, for

we read in the South Carolina Gazette, Saturday April 8 — 15, 17321):

"On Wednesday next will be a Consort^) of Musiok at the Council Chamber, for
the Benefit of Mr. Salter."

It will be seen presently that the good citizens of Charleston encouraged

Mr. John Salter sufficiently to give further concerts during the following

seasons. In the meantime concert second and third took place during the

summer of 1732 and the respective advertisements contain a few additional

details. We read in the same newspaper on June 24 — July 1 :

"For the Benefit of Henry Campbell the 6th of this Month, at the Council Cham-
ber, will be performed a Consort of Vocal and Instrumental Musick: To begin at
7 o' Clock.

N. B. Country Dances for Diversion of the Ladies^)."

and on Saturday, Sept. 23 — 30:

"At the Council Chamber, on Friday the 6th of October next, will be a Consort
of Vocal and Instrumental Musick. Tickets to be had at Mrs. Cook's and at Mrs. Sau-
reau's House at 40 s. each.

N. B. To begin precisely at Six o'clock."

It is a pity that we are not informed of what the "Vocal and Instru-
mental Musick" consisted but this absence of detail by no means permits
us to infer that the program was not worth mentioning for it should be
remembered that in Europe, too, the custom prevailed to observe silence
in the advertisements as to the program*). Then as now it was considered

1) T. Witmarch began to publish the S. C. Gaz. in Jan. 1732. As previous to
this month concerts could not very well have been advertised in Charleston, it is very
possible that concerts were given there before 1732. The inference is plain.

2) For the history of the obsolete term consort see James A. H. Murray's 'New
English dictionary on historical principles. 1893'. From the partial similarity of mea-
ning with the French concert and the Italian concerto it is clear how instead of this un-
familiar word the English woi'd consort, meaning originally a number of people con-
sorting together, was substituted in musical terminology for 1) several instruments
or voices playing or singing together (Fleming, 1587) 2) singing or playing in harmony
(Marlowe 1586) 3) "a company of Musitions together" (Bullokar, 1616) 4) a musical
entertainment (Evelyn's Diary, 1617: "Sir Joseph . . . gave us ... a handsome supper,
and after svipper a consort of music"). Not until well into the 18th century did the
current form concert take the place of consort. For instance, Grassineau still defines
in 1740 "Concerto, or Concert, popularly a consort, . . ." and also W. Tansur in his
'New Musical Grammar', 1746 says: "Concert-Consort: A piece of musick in parts."

3) During the following years Henry Campbell appears in newspaper advertise-
ments mainly as dancing master. He gave a number of balls at the Theatre in Queen-
street. From the fact that in Dec. 1750 a "Sarah Campbell, Dancing Mistress" inserted
an advertisement it may be inferred that Henry Campbell had died in the meantime.

4) It should also be kept in mind that printed programs did not become custo-
mary outside of France, England and America until towards the end of the eighteenth
century. Sittard traced such in Hamburg as far back as 1729, but Ho/inburg, in this
and other respects, presents an exception to the rule (perhaps on account of vicinity
to London) and we need but read what Hanslick had to say on printed programs in
Viemia to find the above remarks corroborated. To further illustrate the point, I
quote the following anecdote from ^Nlarpurg's 'Legende einiger Musikheiligen', 1786:

"Ein Liebhaber der Musik, der in Paris und London gewesen war, und die dortigen

— 12 —

sufficient to draw attention to the place of performance, name of the virtuoso
or society, prices of tickets, date and hour of performance and the ticket
agents. It might also be opportune to remark here that "Country dances
for Diversion of the Ladies" after the concert were not a Colonial invention.
Indeed it would have been a suicidal plan to thus insure a better atten-
dance had not the same custom prevailed in Europe, for Colonial society
would hardly have submitted to any innovation not sanctioned by London
society.

In the absence of proof to the contrary we may argue that the Colonials
were treated, in imitation of concerts given at London, to more or less skill-
ful renditions of Corelli, Vivaldi, Purcell, Abaco, Handel, Geminiani and
such other masters whose fame was firmly estabhshed in Europe and per-
haps what Mattheson said in his Ehrenpforte of the programs played at the
concerts of the MusikaHsche Alcademie of Prague was true also of our earhest
concerts :

"Der Anfang wurde mit einer Ouverture gemacht, hierauf wurden auch Concerte
gespielt, und auch wechselweise darunter gesungen, oder Solo gehoret. Den Schluss
aber maclite eine starke Symphonie."

But to return to Mr. John Salter! For Wednesday, Oct. 25, 1732 he
advertised for his benefit a concert in the South Carolina Gazette in the
usual form with "a Ball after the Consort" and this concert is of some
historical importance as it probably was the first to which our newspapers
paid attention. Under the local news the Gazette printed on Sat. Oct. 21 — 28 :

"Charlestown, Oct. 28.
On Wednesday Night there was a Concert for the Benefit of Mr. Salter, at which
was a fine Appearance of good Company. A Ball was afterwards opened by the Lord
Forester and Miss Hill."

May be it is mortifying to us musicians that this first musical criticism
should have been a bit of society-news with special allusion to the beau of
the town, Lord Forester, but did the New York papers of our own times
subject us to less mortification when the first performance of Wagner's
Parsifal at New York brought their society-editors into greater-prominence
than the musical?

This benefit concert at the Council Chamber of Mr. Saltar, as the Ga-
zette sometimes called him, was followed by others, in 1733 on Feb. 26
and April 2, in 1735 on Jan. 23; in 1737 on March 8; in 1738 on Jan. 17. i)

musikalischen Eini'ichtungen kennete, kam in eine Stadt Deutschlands, wo ein ansehn-
liches Concert war. Weil er glaubte, dass es allhier eben so wie dort seyn wiirde, so
fragte er beym Eingang im Concert den Herrn Director, ob er nicht so gefallig seyn
woUte ihm den gedruckten Anschlag der aufzufiihrenden Tonstiicke zu communicieren.
'Mein Herr, antwortete der Herr Director, ich weiss zur Zeit noch nicht, was wir heute
machen werden, noch wer sich solo wird horen lassen."

1) See the corresponding numbers of the South Carolina Gazette.

— 13 —

when I lost track of this musician whose wife, by the way kept a boarding
school for Young Ladies where John taught music. Other benefit "con-
sorts of Vocal and Instrumental Musick" were given during these years
for Mrs. Cook, the ticket-agent, in 1733 on Feb. 26, when "none but Enghsh
and Scotch songs" were to he sung", in other words the first song recital in
our country, and in 1737 on June 14 1) for "the Widow and Children of the
late Mr. Cook". This concert took place at the Play House in Queenstreet
as did on Nov. 22 of the same year a benefit concert for a musician of quite
an illustrious name. Tliis and the naive tenor of the announcement, in
the South Carolina Gazette, Oct. 29 — Nov. 5 will warrant a quotation:

"At the new theatre in Queenstreet on Tuesday the 22d instant being St. Cecilia's
Day, will be performed a Concert of Vocal and Instrumental Musick, for the Benefit
of Mr. Theodore Pachelbel, beginning precisely at 6 o' Clock in the Evening.

Tickets to be had at the House of the said Mr. Pachelbel, or at Mr. Shepheard's
Vintner.

N. B. As this is the first time the said Mr. Pachelbel has attempted anything
of this kind in a pviblick Manner in this Province, he thinks proper to give Notice that
there will be sung a Cantata suitable to the Occasion."

Of Pachelbel's career nothing is known except that in February 1733,
according to the church records of Trinity Church, Newport, R. I. "the
Wardens procured the Services of Mr. Charles Theodore Parchelbel, of
Boston (who was the first organist to assist in setting up the organ" pre-
sented by Bishop Berkeley^). From Newport he drifted in 1736 to New
York and hence to Charleston.

Students of our early musical Ufe will have surmised the reason for
grouping the henefit-concevts together. The words "for the benefit" were
usually added in the advertisements to distinguish such concerts from those
given by amateurs with the assistance of professional musicians for their
own amusement, in short, serial subscription concerts. Now, a number
of concerts were advertised in the South Carohna Gazette that evidently
were not intended for the benefit of any particular musician, the form of
the advertisements being essentially the same as for the concert on Oct. 6,
1732. By way of general analogy, therefore, it might be argued that the
first effort to establish a series of concerts at more or less regular intervals
in Charleston, is to be dated 1732. This supposition certainly is streng-
thened by the following N. B.s to concert advertisements published on
Jan. 20 and June 30, 1733 :

"N. B. This will be the last Consort"
and

"N. B. This is the first time on the Subscription."

1) S. C. Gaz. May 21—28, 1737.

2) See Brooks, Olden Time Music, p. 52.

— 14 —

Hence it would seem as if the concert season opened in the summer
and lasted until Spring! As far as I found them in the Gazette the dates
were these: 1732, Oct. 6th, Dec. 5th (postponed from Nov. 21st "on account
of the Council's sitting"); 1733, Feb. 5th, JuHGthi); 1734, Feb. 19, March 19,
May 14, Dec. 17th; 1735, Dec. 19.

For the folloAving years until 1751 I have found no concerts announced
except the benefit concerts for John Salter and Charles Theodore Pachelbel.
This may be explained in different ways. Either it was not considered
necessary to advertise concerts or none took place. The latter is the more
plausible explanation. Why the interest in the concerts, at which John
Salter probably was in prominence, died out, would be impossible to answer.
Possibly the theatrical performances, including ballad operas, at the Court
Room during 1735 and beginning with 1736 at the New theatre in Queen-
street absorbed the interest of Charleston. Also the immerous balls held
by the dancing masters Henry Holt, Henry Campbell and others may have
been responsible for the fact. Indeed these dancing assemblies seem to
have been the only notable public entertainments at Charleston from about
1740 to 1750. Nor did conditions change materially during the next ten
years. Strange to say, though the number of musicians who settled at
Charleston was steadily increasing during this decade, I have been able
to unearth three concerts only, though this, of course, by no means implies
that others were not given.

A Mr. Uhl advertised a concert for his benefit at Mr. Gordon's Great
Room in Broadstreet for Nov. 29, 1751 and Frederick Grunzweig who
came to Charleston in 1754 announced one for Jan. 30, 1755 but it "was
put off on account of the bad Weather, 'till Thursday the 13th instant,
Feb." Finally the Gazette announced on Oct. 11, 1760 that:

"at the house of Mr. John Gordon in Broad-Street on Wednesday the 29 of October
(Instant) will be performed,

A Concert of Vocal and Instrumental Music. To conclude with a Ball. Tickets,
at Five ShilUngs Sterling each to be had of Mr. Wallace at his Lodgings in Church
Street or at Mr. John Gordon's in Broadstreet.
N. B. As the Gentlemen who are the best Performers, both in Town and Country,
are so obliging as to assist Mr. AVallace on this Occasion, he makes no Doubt, but
that it wiU be in his Power to give the greatest Satisfaction to those Ladies and Gent-
lemen who shall honor him with their Presence.

The Concert to begin precisely at Seven o'Clock in the Evening."

For some reason, however, Mr. Wallace could not give the satisfaction
promised until Nov. 4th.

I) Others would probably have been advertised but unfortunately the file of
the Sovith Carohna Gazette as published by T. W'hitmarch (in possession of the Char-
leston Library Society) stops with no. 86, Sept. 1st. L. Timothee's continuation began
on Feb. 2, 1734 with No. l!

— 15 —

As Benjamin Yarnold who resided at Charleston as organist of St. Phi-
lip's from 1753 to 1764 and as Peter Valton of London succeeded him in the
same year, Yarnold becoming organist of St. Mary's, it is possible that both
these able musicians gave concerts but I failed to trace them. The next
reference to a public concert after 1760 I found in the South Carohna Ga-
zette for Sept. 7—14, 1765 when Mr. Thomas Pike who had arrived in Char-
leston in November of the previous year as dancing, fencing and music
master inserted this amusing advertisement:

"On Wednesday the 25th instant, September, the Orange Garden, in Trade Street,
will be opened for the Night only, when a Concert of Vocal and Instrumental Mustek
will be performed by Gentlemen of the place, for the entertainment of all lovers of
harmony. Concerto on the French Horn and Bassoon by Mr. Pike.

A subscription is opened for the same, as none but subscribers will be admitted;
nor will any be taken at the door. The subscription is two dollars for three tickets,
to admit two ladies and a gentleman. — Subscriptions are taken in and tickets dehvered
by Thomas Pike, at the same place.

N. B. It is hoped no persons will be so indiscreet as to attempt climbing over the
fences to the annoyance of the subscribers, as I give this public notice that I will pros-
ecute any person so offending, to the utmost rigour of the law.

Thomas Pike."'

A number of "unforeseen accidents" obhged Mr. Pike to twice postpone
his concert which "for the better accomodation of the subscribers [was]
moved from the Orange Garden to the Theatre in Queenstreet" on Oct. 16thi).
From the program it would appear that Mr. Pike was assisted by other
soloists and an orchestra.

PROGRAM.

Act I.
French Horn Concerto
2d Concerto of Stanley
Solo on the Violincello
5th Concerto of Stanley
Bassoon Concerto
Song
Ouverture in Scipio-).

Act II.
French Horn Concerto
Concerto on the Harpsichord
Trio

Bassoon Concerto
Song
French Horn Concerto of Hasse.

1) South Carolina Gazette, Sept. 28— Okt. 5, 1765. In August Mr. Pike adver-
tised his desire to instruct ladies and gentlemen "very expeditiously on moderate terms
in Orchesography (on the art of dancing by characters and demonstrative figures").

2) Probably from Haendel's opera.

— 16 —

A few weeks later, on Nov. 13th "Peter Valton's Concert" took place
at the theatre under similar conditions and we are told in the Gazette of
Oct. 19 — Oct. 31 that "besides a variety of Concertos, Overtures, Solos etc.
[there would be] two Songs, sung by Miss Wainwright and two by Miss
Hallam who never appeared in pubHc. — Likewise a concerto on the
Harpsichord 1)."

Strange to say, just when the scarcity of musical data in the South
CaroUna Gazette could induce us to believe that music was at a very low
ebb at Charleston, the contrary is true for in those years a society was
founded which has existed for well-nigh 150 years though its musical cha-
racter has changed into that of an exclusive assembly of Charleston's first
famihes with hardly any serious musical ambitions. The very name proves
that when the society was founded in 1762 the object was to organize
the music lovers of the city into a serious musical club. I am alluding to
the St. Ccecilia Society to which, and not to the Stoughton Musical Society
of 1786, therefore belongs the honor of being our oldest musical society. For-
tunately a copy of the printed "Rules" has been preserved and though
they are dated 1773 we may take it for granted that they had been in
force since the foundation of the society. They follow here as copied from
the reprint in the South Carolina Historical and Genealogical Magazine,
1900, V.I, p. 223— 2272):

"RULES of the St. Ccecilia Society: Agreed upon and finally confirmed, November
22d, 1773.

The Society shall be called the St. Ccecilia Society and consist of one hundred
and twenty members.

II.

There shall be annually four General Meetings of the Society, namely, on St.
Ccecilia' s Day, M'hich shall be the Anniversary of the Society, and on the third Thursday
in February, May and August, on which General Meetings the Members of the Society
shall dine together.

On the anniversary, the Society shall break up at Five, and on the other General
Meetings at Six o'clock in the afternoon; at which hours, the Steward shall call for
and settle the bill. Every member shall be charged twenty shillings currency towards
defraying the expence of the dinner; and in case of any deficiency, the same shall be
paid by the members present at the said meetings.

III.

The Society, on their anniversary, shall elect, by ballot, a President, Vice Presi-
dent, Treasurer and Steward, and eleven other members, residents in Charlestown, who,

1) Evidently the people of Charleston were -broad — minded enough to allow their
organist to cooperate in concert with members of a A^ery worldly profession, for both
ladies were actresses.

2) The title of the excessively rare pami^hlet (12°. 11 p; preserved at the South
Carolina Historical Society, Charleston) reads: "Rules of the St. Ccecilia [!] Society
Charleston, Printed for the Society by Robert Wells 1774."

— 17 —

with the fore-named officers, shall be constituted Managers for the current year. And
in case any member, a resident in Charlestown, shall, upon his election, refuse to serve
as officer or Manager of the Society, such person so refusing, if an officer, shall pay
a fine of ten pounds currency; and the Society shall proceed to an other election in
his or their room.

IV.

On the first Thursday in every month, there shall be a meeting of the managers,
at six o'clock in the evening, from the first of October to the first of April; and at
seven o'clock, from the first of April to the first of October.

In case of the death, resignation, or removal from Charlestown, of any of the ma-
nagers, the remaining managers are empowered to supply the vacancy.

But in case of the death, resignation or removal from Charlestown. of any of the
officers, the managers shall call an extraordinary meeting of the Society, giving at
fortnight's notice thereof in all the weekly gazettes: And, on every other emergency,
the same power is vested in them.

The managers are empowered to fix the number and times of the Concerts; the
anniversary only excepted, on the evening of which, a concert shall always be per-
formed; also, to regulate every other matter relating thereto, as well as every other
business of the Society, during the recess of the Society.

VI.

On every anniversary, each member shall pay, into the hands of the treasurer,
for the use of the Society, the sum of twenty-five pounds currency.

Upon notice from the treasurer in writing, of his arrears due to the society, whether
these arrears be for his annual subscription, his dinner expences, or any other fine
incurred by him in the Society, any person neglecting or refusing to discharge the
same, at the next general meeting of the Society, he shall no longer be deemed a member.

VII.

Any person desirous of becoming a member of the St. Coeciha Society, shall signify
the same by a letter, directed to the President of the society; and whenever a vacancy
happens in the society, the members present, at their next general meeting, have power
to elect, or reject, the candidate offering himself; which election, or rejection, shall
be by baUot only; and the assent of two-thirds of the members present shall be necessary
for the admission of such candidate. And every person, on his election, shall subscribe
to rules of the Society, and pay to the treasurer, for the use of the Society, thirty-five
pounds currency.

VIII.

Every member is allowed to introduce to the concert as many ladies as he thinks
proper, who are to be admitted by tickets, signed by a member, and expressing the
name of the lady to whom each ticket is presented.

No other person is to be admitted, except strangers, and they only by tickets,
from a manager, signed and directed as before specified.

No boys are to be. on any account, admitted.

IX.

The treasurer shall immediately, upon his election into office, take charge of all
the ready monies, bonds, securities, and other effects, belonging to the Society; and
give bond to the president and vice-president to be accountable to them, or to the
order of the president and managers, for the same, fire and other inevitable accidents
excepted.

He is not, on any account, to pay, or lend at interest, any of the Society's monies
Sonneck, Early Concert Life. 2

— 18 —

but by order of the Society, or the order of the president, together with the approbation
of the managers.

At all meetings of the Society, not less than twenty-one members, and at all the
meetings of the managers, not less than five members shall be a Quorum to transact
business.

All matters, canvassed at any of those meetings, shall be determined by a majo-
rity of votes, the election of members only excepted, which, according to Rule VII,
is to be determined by, at least, two thirds of the Society present at their general mee-
tings.

The President, or in his absence, the vice-president, or, in case of the absence
of both of them, a person chosen as chairman by the members present, shall keep the
order and decorum of the Society.

Every member, speaking of business, shall adress himself immediately to the
Chair.

XI.

At every general meeting, the Society shall proceed to business at eleven o'clock
in the forenoon; and in case the president, vice-president, or treasurer, do not attend
at the said hour, they shall each pay a fine, to the Society, of thirty-two shillings and
six-pence currency; and every other member, residing in Charlestown, who does not
attend at the said hour, shall pay a fine of ten shillings currency; unless the Society,
to whose judgment all fines are to be referred, shall, at their next general meeting,
see sufficient cause to remit the same.

None of the foregoing rules shall be altered, or any new ones enacted, until they
have been proposed and agreed upon, at two general meetings of the Society."

Thus encircled with rules and regulations the St. CoeciHa Society formed
until the end of the 18th and far into the 19th century the center of Char-
leston's musical life as far as it found expression in concerts. The number
of concerts every year seems to have varied, as the concert-seasons opened
and closed at irregular dates, but as a long as a season lasted the concerts
took place fort-nightly and one of the by-laws called for a yearly concert
on St. Coecilia's Day, Nov. 22. The orchestra was formed partly of gent-
lemen-performers and partly of professional musicians, the latter being
engaged by the season. We have ground to beheve that the managers
spared no expense in securing musicians capable of performing the best
music of the period and as evidence of the enterprising spirit governing
the society in those years I submit an interesting advertisement which the
society sent as far as New York, Philadelphia and Boston for insertion!
We read for instance in the Boston Evening Post, June 17, 1771 :

"Charlestown, South Carohna, April 11th, 1771.

The St. Coecilia Society give notice that they will engage with, and give suitable
encouragement to musicians properly qualified to perform at their Concert, provided
they apply on or before the first day of October next. — The performers they are in
want of are, a first and second violin, two hautboys and a bassoon, whom they are
willing to agree with for one, two or three years.

John Gordon, President
Thomas Ln. Smith, Vice President."

— 19 —

Under the circumstances it is not surprising that Charleston soon became
attractive to musicians and consequently the number of benefit concerts,
as defined, rapidly increased during the next decades.

The following pages deal only vdih these as concerts given by the St. Coe-
cilia Society go without saying i). But an exception to the rule must be
made here. When the South Carolina Magazine reprinted the rules of the
St. Coecilia Society, it was claimed in a foot-note that "so far as has been
discovered, the first mention of the St. Cecilia Society in print was made
in the South CaroUna Gazette for December 3rd 1772." This is not correct
as the same paper pubhshed on Oct. 6 — 13, 1766 the following:

"T/ie St. Coecilia Concert will be open'd to the subscribers on Tuesday evening
next, at 6 o'clock, at the house of Mr. Robert Dillon; before which time the subscribers
are desired to send to the treasurer for their tickets of admittance, who is empowered
to receive the subscription money.

By order of the President

Isaac Motte, Treasurer."

In the following year Anthony Labbe, a musician who still figures in
the Charleston directory for 1797, advertised a concert for Jan. 29. Shortly
afterv/ards a species of entertainments was introduced at Charleston during
the summer months which shows how eagerly the Colonials were on the
quivive of the latest London fashion.

I mean the 'Ridotto al fresco' opened in 1732 by Jonathan Tyers at

the 'New Spring Gardens' in London, better known as 'Vauxhall Gardens'.

To this freshair resort fashionable folk would flock during the summer

evenings and hsten to open-air concerts wliile partaking of refreshments.

The entertainments became so popular that from 1736 on they were given

every evening 2). The fact that in 1745 Dr. Arne was engaged as composer

illustrates how the managers sought to maintain a high musical standard.

But gradually the entertainments turned into a sort of vaudeville with

fireworks, etc. though concerts remained a feature. After ha\^ng sunk lower

and lower in character they Avere discontinued in 1859. Says Mr. W. H.

Hadow in Grove's Dictionary:

"Vauxhall C4ardens had a longer existence than any public gardens in England
and assisted in maintaining a taste for music as a source of rational enjoyment, al-
though they did little or nothing towards promoting its advancement."

1) It would also be rather difficult to say much about them as they generally
were not mentioned in the papers. (The same by the way, is true also of concerts given
by musical societies in Europe during the 18th century.) It is to be hoped that some
day some member of this exclusive and uncommunicative society will take the public
and the historians into his confidence and give us the history of the St. Coecilia Society.
Unfortunately, as I was informed through the friendly exeitions of I\Iiss Charlotte
St. John Elliott, early records, minutes or reports of the society do not seem to exist.

2) As early as 1661 Evelyn speaks in his diary of "the New Sjjring Garden at
Lambeth a pretty contrived plantation" as a place of public amusement, but the musical
entertainments remained very primitive for decades.

— 20 —

The same author claims that the New Spring Gardens were opened for
the first time under the name of 'Vauxhall Gardens' in 1786. This may
be, but the popular name must have been 'Vauxhall Gardens' for many
years previous, otherwise the entertainments, first imported from Italy,
would not have enjoyed an international reputation under exactly this
name. For instance, in Frankfort o. M. "eine Art von Vauxhall" was intro-
duced during the Herbstmesse of 17711) and at the Hague Ernst Sieber's
'Nieuw Vaux Hall op de Scheveningsche Weg' existed as early as 17492).

At Charleston, Vauxhall concerts were introduced in 1767 by the enter-
prising Messrs. Bohrer, Morgan & Comp. The advertisements may tell
the origin of the Charleston Vauxhall and incidentally remind us of the
fact that only gradually have audiences been educated to keep silent during
concerts. In those days quite the contrary was customary and Burney, for
instance, demonstrated the impression made by the Haendel Commemora-
tion of 1784 by remarking that stillness reigned whereas

"The best operas and concerts are accompanied with a buzz and murmur of con-
versation, equal to that of a tumultous crowd."

We read in the South Carolina Gazette, June 1 — 15, 1767:

"By particular desire of Gentlemen and Ladies. The managers of the New Vaux-
hall Concert, instead of having them three times, will perform only once a week, on
every Thursday; to begin precisely at seven o'clock in the evening.

Tickets to be had at Mrs. Barkhouse's, Mr. HoUiday's and ]VIr. Tuke's tavern,
and at the Bar, at fifteen shillings each.

Tea and coffee is not included in the price of the ticket.

Bohrer, Morgan & Comp."
and on July 6 — 13:

"Advertisement Extraordinary.

On Thursday the 23d inst. will be exhibited at New Vauxhall A Concert of Vocal
and Instrumental Music. To begin at eight o'clock in the evening, at a dollar a ticket,
which may be had at the bar.

Between the parts of the concert, four or five pieces will be exhibited by a person
who is confident very few in town ever saw, or can equal, his performances.

After which there will be a pantomime enteitainment, then a ball.

Tea and coffee is included in the expence, till the person above mentioned begins.

This will positively be the only time of his performing, unless by the particular
desire of a genteel company.

He finds himself obliged to request that silence may be observed during his per-
formance."

Unless Messrs. Bohrer, Morgan & Comp. found it unnecessary to con-
stantly draw pubhc attention to their estabhshment it would seem that
the undertaking enjoyed but a short existence, as no further reference to

1) Israel, op. cit.

2) Scheuleer's article on 'Haagsche somer concerten in de achtiende eeuw' (T.
V. v. N. N. M., 1904).

— 21 —

tlie New Vauxhall concerts is to be found in tlie South Carolina Gazette.
All the concerts advertised during the next years were given^ with one
exception, by Peter Valtoni), but as in 1772 an 'Orphaeus Society' existed
in Charleston^) it is probable that Charlestonians had occasion to enjoy
other concerts besides these and those of the St. Coeciha Society.

Though not stated, the fact that "tickets [were] to be had of Peter Valton"
clearly indicates that the concert announced to take place at Mr. Robert
Dillon's on March 24, 1768 was for his benefit. He further advertised a
subscription concert for April 5, 1769 and "concerts of vocal and instru-
mental music ... at Mr. Pike's Assembly Room" for April 22, 1772 and
Feb. 2, 1773. At the latter the first violin was played by "Mr. [Thomas]
Hartley lately arrived" from Boston and "among other select pieces" was
to be performed "a concerto on the harpsichord, by a lady, a pupil of Mr.
Valton's". Now, as then, the best method of advertising one 's ability as
a teacher!

In the meantime, on Nov. 27, 1772^) a concert had taken place the
announcement of which finely illustrates by- gone methods of advertising:

"CONCERT, by Desire.

On Friday the 27tli of November instant, at Pike's New Assembly Room, will
be performed a Concert of Vocal and Instrumental Music.

The vocal part by a gentleman, who does it merely to oblige on this occasion.

The whole sum that may be raised on this occasion, to be laid out for a covered
way and elegant portico next the street ; thereby to enable ladies and gentlemen always
to go to the new suite of rooms, without being incommodated by the weather.

N. B. As the expence to complete the same amounts to a considerable sum,
it is hoped the ladies and gentlemen will not think a guinea for two tickets an extra
demand."

In 1773 a few entertainments were given at Charleston which belong
to the history of American vaudeville as well as to the history of our con-
cert Ufe. In January of this year, the "celebrated" Mr. Saunders came
to town who appears to have been a formidable forerunner of our present-day
magicians. It evidently occurred to a Mr. Humphreys, when he contem-
plated giving a concert, that the engagement of Mr. Saunders would be
to his own advantage and he consequently inserted in the South Carohna
Gazette of March 22, 1773 this announcement which presumably thrilled
all connoisseurs of leger de main:

1) Peter Valton, besides being the organist of St. Philip's, dealt in "good and
handsome new spinets" and other musical merchandise. He also, on Oct. 10, 1768
advertised "Proposals for printing by subscription Six Sonatas for the harpsichord
or organ; with an accompaniment for a viohn . . . opera prima". Whether or not
these sonatas left the press, I have been unable to ascertain.

2) That this was a musical society, appears from an advertisement signed "Wil-
liam Packrow, First musician" in the S. C. Gaz. April 9, 1772.

3) S. C. Gaz. Nov. 19, 1772.

— 22 —

"For the benefit of Mr. Humphreys on Wednesday the 31st of March instant
the celebrated Mr. Saunders will, for that night only, exhibit his highest dexterity and
grand deception, which have never yet been exhibited in this province, in Mr. Stotherd's
Long Room behind the Beef Market. Among a number of other surprising perfor-
mances. IVIr. Saunders will let any number of ladies or gentlemen think of as many
cards as they please, and the same will be found in a roasted leg of mutton, hot from
the fire, which will be placed on the table . . .

After Act I an air to the French horn, by ]Mr. Humphreys.

After Act II Mr. Stotherd will play the French horn and guitar in concert.

After Act III a Song by Mr. Humphreys.

After Act IV a Song by Mr. Stotherd. "

The whole to conclude with a duette by Mr. Humphreys and ]Mr. Stotherd, to the
guitar.

The doors to be opened at six o'clock, and the performance will begin at seven.

No person to be admitted without a ticket, which may be had at the place of per-
formance, and at the Coffee House. — Table seats one dollar each, and others twenty
shillings.

N. B. Mr. Saunders, after the performance, will teach the spectators several
amazing tricks on cards, etc. gratis.

*^* Mr. Humplu-es will esteem it a particular favour of those ladies and gentle-
men, who intend to favour him with their company, to apply some time before his
benefit night, in order that he may have seats made proper for their reception."

A similar performance followed on April 29, during which Mr. Saunders
had several new tricks — up his sleeves. Mr. Stotherd announced as his
share in this joint belief it:

"After Act I

Ml-. Stotherd will sing the Dust last — a favourite cantata, accompanied with
the guitar.
Act the 2d

He will play the French horn and guitar in concert.
After the 3d

A song by Mr. Humphreys.
After the 4th

The Lark Shrill Notes, accompanied with the guitar by Mr. Stotherd.

The whole to conclude with a Hunting song called Away to the fields — by
j\Ir. Stotherd.

But back to more legitimate concerts! In the South Carohna Gazette.
March 28, 1774:

"Ml". FRANCESCHINI having the permission of the Honourable the President,
the Vice President, and members of the St. Ccecilia Society, and the assistance of the
gentlemen performers, begs leave to acquaint the public, that on Tuesday the 12th
day of April, at the New Theatre in Church Street will be performed a Grand Concert
of Vocal and Instrumental Music for his benefit.

A solo and a concert on the viohn by Mr. Franceschini, on the viol d'amour.
Sonata on the harpsichord, etc. etc.

Tickets ... at one dollar each.

N. B. After the concert proper music will be provided for dancing."

A few months later, a musician arrived at Charleston who subsequently
became prominent in the musical hfe of New York and Boston, then calling

— 23 —

himself, in distinction from his son, P. A. Van Hagen, sen. But in 1774
he advertised himself as "P. A. Van Hagen, jun., organist and director of
the City's Concert in Rotterdam". The logical inference would be that
there must have been active in Europe, presumably in Holland, a Van Hagen,
sen., so that the Van Hagen family would be one of those in whom the
musical profession was inherited from father to son, of which the Bach
family furnishes the most famous example.

The correctness of the inference may easily be proven. The 'Journal
zur Kunstgeschichte und zur allgemeinen Litteratur' contains in the second
part an 'Entwurf eines Verzeichnisses der besten jetzt lebenden Tonkiinstler
in Europa'i). Under organists the entry is to be found (1776):

"Rotterdam. Herr von Hagen aus Hamburg, ein Schiiler des grossenGeminiani".

This was probably the Peter Albrecht von Hagen who in 1740 appeared
at Hamburg as viohn virtuoso 2). It is clear that he cannot have been
identical with our P. A. Van Hagen, jun. The missing hnk is furnished
by Burney who, in his famous book on the 'Present State of music in Ger-
many, the Netherlands . . .', 1773 wrote under Rotterdam:

"M. Van Hagen, a German, who is the principal organist here, is Ukewise an ex-
cellent performer on the viohn, of which he convinced me by playing one of his own
solos. He was a scholar of Geminiani, and he not only plays, but wTites very much in
the style of that great master of harmony.

His daughter has a fine voice, and sings with much taste and expression. His
the has been under Mr. Honaiir [sic] at Paris."

It was evidently tliis son, a pupil of the composer and \dohnist Leonzi
Honauer, who emigrated to Charleston where he proposed teaching organ,
harpsichord, pianoforte, viohn, \'ioloncello, viola besides "The manner of
composition to any that are inclined to be instructed therein". It is also
characteristic of "Monsieur" Van Hagen that he did not insert his card
before he had shown his abihties in a "Grand Concert of Vocal and Instru-
mental Music", announced in the South Carohna Gazette, Oct. 24, 1774
for Oct. 27th at Mr. Valk's Long Room for liis own and the benefit of Signora
Castella, possibly the professional name of Miss Van Hagen. Tliis concert,
too, was to be given "by permission of the St. Coecilia Society", which
can mean nothing more than that it enjoyed the patronage and assistance
of the musical forces of the society for it is hardly credible that the St. Cce-
ciHa possessed the power to veto concerts. Of the program we hear nothing
and the only particulars in the advertisement were these :

"The vocal parts by Signora Castella, who Avill also perform several airs on the
Harmonica or Musical Glasses^).

1) From J. W. Enschede's article 'Nederlandsche musici in 1776' C. T. d. V. v.
N. N. M. 1904, p. 292—294.

2) Sittard, op. cit.

3) Franklin's Armonica, just then very popular both in Europe and America.

— 24 —

The instrumental parts by Monsieur Van Hagen, Mr. Abercrombyi), Mr. France-
schini, and others."

This was the last benefit concert advertised before the War of the Re-
volution and during the war to my knowledge only three concerts took place,
announced no longer in the South Carohna Gazette but — a ghmpse into
pohtical history — in the Royal Gazette! The first was given by Signer
Franceschini on March 14, 1781 and the second anonymously on Oct. 8th
of the same year when there was to be "a concerto solo upon the harpsichord,
by a lady, and solo upon the viohn, etc. and a ball". As tickets were to
be purchased also at Mr. Abercromby's possibly he Avas connected with the
affair. The third concert, on May 24, 1782, was again for the benefit of
Mr. Franceschini. He requested the

"honour of such of the ladies company as used to frequent the assemblies". He ad-
mitted "the gentlemen of the navy, army and the most respectable part of the town
— at half a guinea each."

After the war the St. Coeciha Society again began to flourish and matters
musical at Charleston gradually resumed their former appearance. Yet
a marked difference is noticeable. Before the war concerts had almost ex-
clusively been given by itinerant or resident musicians. Now they found
unwelcome competitors in the members of the theatrical companies, in a
similar manner as the members of the Mingotti troupe for a wliile had pa-
rahzed the chances of non-operatic musicians at Hamburg.

Thus the first concert after the war was given by an artist who, before
our struggle for independence, had repeatedly won the hearts of the Co-
lonials with her fine voice and method of singing and now was destined
to soon enthuse the American pubUc with her interpretative powers in the
repertory of ballad-opera: Maria Storer, from 1787 on better known as
Mrs. Henry. She had gone with Douglass' American Company to Jamaica
when the first signs of war clouds appeared on the pohtical horizon and
she did not return until after the war. Then, when the comedians flocked
back to the United States, she seems to have joined those who in the spring
of 1785 opened a short season at the theatre in the City Exchange at Char-
leston, and she remained here until her appearance at New York in 17862).
Her benefit concert was advertised in the South Carohna Gazette, May 9
for May 17th but of the program and the assistant performers nothing is
said. However, the concert did not take place for some reason or the other.
This becomes evident from an advertisement of a concert

1) ]\Ir. Abercromby combined the "profession of musick and dancing" and in
1775 "entered into partnership with ]Mr. Sodi, who, for many years, had the sole con-
duct of the dances at the Itahan Opera in London".

2) These data will be of interest to readers of Seilhamer's 'History of the American
Theatre'.

— 25 —

"at the City Tavern . . . for the benefit of Miss Storer" for Oct. 12, 1785 when she
assured the public that "every exertion will be used to render the concert worthy
attention" and remarked that tickets of the 17th of May ult. will be admitted on
the above nights" [sic].

If this concert was ^^os^poned, an irregularity of quite are unusual nature
happened to a concert with ball which had been announced for Oct. 27,
1785. It was pre-poned to Oct. 26th.

For the following year quite a few concerts are recorded but they were
mostly theatrical performances under the disguise of concerts, the disguise
being adopted to steer clear of the strong current against the theatre shortly
after the war. The method adopted was this that "between the acts" or
more correctly between the musical numbers such plays as the 'Spanish
Friar', altered by Garrick from Dryden's tragi-comedy were performed.
The "characters" were generally "expressed in the bills for the day" so that
for all practical purposes the written or unwritten law was obeyed and at
the same time theatre-goers were fully informed of histrionic details.

In this connection these sham-concerts are of particular importance.
They show that Charleston now possessed a building well adapted for enter-
tainments of every description as they were given in "Harmony Hall at
Louisburgh without the city". A description, printed in the New York
Independent Journal, August 5, 1786 reads:

"We hear from Charleston, S. C. that a principal merchant of that city and a ^Ir.
Glodwin. comedian, have leased a lot of land for five years and have erected a buil-
ding, called Harmony Hall, for the purpose of music meetings, dancing and theatrical
amusements. It is situated in a spacious garden in the suburbs, of the city. The boxes
are 22 in number, with a key to each box. The pit is very large and the theatrum and
orchestra elegant and commodious. It was opened with a grand concert gratis
for the satisfaction of the principal inhabitants, who wished to see it previous to
the first night's exhibition. The above building hast cost ^ 500 . . ."

Before the opening of Harmony Hall where Godwin's company performed
until the spring of 1787, Joseph Lafar, a musician who seems to have estab-
lished the first regular music shop at Charleston in 1786, gave a concert
with ball for his benefit at the City Tavern on Feb. 14, 1786. Circumstantial
evidence also points to him as the moving spirit of an interesting concert
enterprise thus advertised in the Charleston Morning Post, Nov. 13, 1786:

"By Subscription.

A CONCERT AND ASSEMBLY. Every fortnight, to be held at Mr. Broeske's
Long Room, No. G8, on the Bay. The first concert to be on Monday the 19th of No-
vember.

Subscriptions taken in at !Mr. Lafar's only, two doors from the corner of Church-
street, in Traddstreet, when a place for the Concert and Assembly may be seen."

Tliis first concert was postponed to Nov. 27. Though no more is said
about the enterprise in the papers, it is hardly probable that the first concert
remained the last. If not, then those music-lovers who frequented both

— 26 —

these concerts and those of the St. Cceciha Society certainly were treated
to enough good music to satisfy the most thirsty melomaniacs.

For the years 1787 and 1788 I have been unable to trace concerts (in-
dependent of the St. Coeciha Society!) and for the year 1789 only two enter-
tainments deserving the name. On March 31, 1789 the South Carolina
Gazette advertised:

"On Thursday evening, the second of April, at the Great Room; Traddstreet,
(late William's Coffee House) will be performed, A CONCERT of Vocal and Instrumental
Music. In part of which will be recited, a musical dialogue between Thomas and Sally,
Dorcas and Squire. To begin at seven o'clock.

In order to prevent the place of performance from being crowded, a calculation
has been made of the number which it will properly contain, and a proportionate
number of tickets struck off, without one of which no person whatever can be admitted.

Tickets at three shilhngs each, to be had at Markland and M' Iver's Printing Office,
no. 47 Bay, and at the place of performance."

The advertisement of the other concert is even more curious as it will
strongly drive the point home to all famihar with Israel's Frankfurter Con-
cert-Chronik how much our concert-life, though, of course, inferior in qua-
Uty, had in common in outward appearance with that of Europe. The
advertisement, in the South Carohna Gazette, April 28, 1789, runs:
"This Evening ... A DIVERTISSEMENT; Selections:
II Penseroso — Jane Shore. Alicia.
Songs, Water parted from the Sea, Anna's urn. Selections. U Allegro —
Ai'cher, Boniface, Foigard, Serub, Sullen, IVIrs. vSuUen, Dorinda, and Cherry.
Songs: Come live with me and be my love; Which is the man?; Lud! don't
keep teazing me so."

When Mr. Godwin in May 1787 "in consequence of a late act of legis-
lature" saw himself compelled to "relinquish theatrical representations" he
made the best of liis embarrassing situation by deUvering lectures at Har-
mony Hall^), besides teaching there music, fencing and dancing: But in
1790 he could not resist the temptation of again testing the limitations of
the legislative act. Accordingly he advertised in the City Gazette, Jan. 7th :

"On Saturday evening [Jan. 9th] at the Lecture Room, late Harmony Hall, will
be a Concert between the parts will be rehearsed (gratis) the musical jiiece of Thomas
and Sally. To which will be added, a pantomime, called Columbia, or, Harlequin
Shipwreck'd.

Maria's Evening Song to the Virgin, Miss Wall."

The idea of "rehearsing {gratisY^ a ballad opera was certainly very in-
genious and reminds us of the tricks adopted by the friends of the German
naturalistic drama early in the nineties of the last century in order to avoid
a confUct with the censor. Shortly afterwards, on Jan. 23, 1790, another

1) Charleston Morning Post, May 31, 1787; Feb. 22, 1787. Late in 1794 Harmony
Hall changed its name into City Theatre.

2) City Gazette. June 10, 1791.

— 27 —

concert was given but again concert- music appears not to have been the

real attraction for it was announced that "during the parts . . . the famous

Saxon [would] have the honor to give a representation of a dance upon

wire".

Of the few concerts of 1791 three had tliis in common that they were

given for charity. The first took place on March 17 under the direction

of the St. Cecilia Society "for the benefit of a numerous family in distress"

and the second for the benefit of "Mr. Lafar^ lately returned to this city"

on June 16th. May be the concert on March 17 was also given for liis benefit

as after assuring the pubUc "that the endeavors of the performers will be

exercised in selecting those pieces best calculated to please the audience"

Mr. Lafar remarked i):

Mr. Lafar, after a series of misfortunes, has been advised by some of his friends,
to attempt this method to alleviate the distress of his family: it is the more pleasing
to him, as it will afford an opportunity to a generous public to display those sentiments
of philanthropy, for which they have always been conspicuous . . ."2)

The third concert was to enable the commissioner of the orphanhouse
who had already collected 800 1. for the purpose, to lay the foundation of
the building. The price of admission was ten shillings and the concert
was to be held at the City Hall on Oct. 20, under the auspices of the Ama-
teur Society^), to which I have found no further allusion. A fourth concert
may or may not have been given for charity, but this is of little interest
compared with the source where the reference appears. George Washing-
ton was just then on his Southern trip and it is in his diary that we find
under date of May 1791 this characteristic entry:

"... went to a Concert at the Exchange at wch. there were at least 400 laches the
number & appearance of wch. exceeded anything of the kind I had ever seen."

Though the files of the City Gazette are complete for 1792 I failed to
find references to concerts in this year, for the daily performances on the
musical glasses together with Mr. Saunders' "exhibition of equilibrium"
at M' Crady's assembly room can hardly be termed concerts. Then, from
1793 on to the end of the century, Charleston enjoyed a surprisingly vigorous
musical Hfe. During these years English opera flourished splendidly and
from 1794 on until about 1796 French and Italian operas were introduced
by a company of French comedians who had managed to escape the ter-
rorists in St. Domingo. So it came that side by side with operas by Arne,

1) City Gazette, June 10, 1791.

2) Mr. Lafar seems to have met with sufficient cncouiagement to remain at Char-
leston for it appears from the papers that he opened a dancing assembly in 1791, trans-
lated French and English "grammatically and orthographically", copied music and
reopened his music shop. He died at Charleston in 1797.

3) City Gazette, Oct. 11, 1791.

— 28 —

Atwood, Shield and others such by Eousseau, Gretry^ Cimarosa, Paisiello
were heard at Charleston. This influx of French musicians exercised an
influence also upon the concert-hfe. Not alone did the singing members
of the companies generally participate in the concerts but the French mu-
sicians together with those residing at Charleston and those who belonged
to the orchestra in the Enghsh companies formed a ^^halanx sufficiently
large and capable to render the "full pieces" of the current European con-
cert repertory. Thus the revolutions in France and St. Domingo contri-
buted to laying the foundation of our cosmopoUtan musical Hfe with all
its advantages and drawbacks. It will be seen that Stamitz, Gossec, Haydn,
Gyrowetz, Pleyel, Gretry, and other European celebrities, including Mozart
and Glucki) figured on the programs, and these programs together with
those submitted in subsequent chapters will perhaps induce our program
annotators who delight in dating first performances in our country of Haydn,
Gluck and Mozart as late as 1850 and later, to be more cautious in the
future.

It might be said that the concerts were only few in number but it should
not be forgotten that there is a difference between concerts traced and con-
certs actually given. Moreover, it should constantly be kept in mind that
the St. Cecilia Society 2) mth its concerts formed the real backbone of Char-
leston's concert hfe and that in 1794: another musical society, the Harmonic
Society, appeared on the plan. The concerts of these societies were public
only to a certain degree. Therefore they were not advertised, yet they were
concerts and consequently the entertainments announced in the papers were
additional to the regular subscription concerts of these societies. However,
not the number of the benefit concerts is of importance but their general
character.

The first concert of 1793 was given by the "professors and amateurs"
on Feb. 19 for the benefit of the Orphan House, Mr. Wilhams "pohtely"
offering them his assembly room and services free of all expenses "in order
to promote so laudable an institution"^). Here is the

PLAN OF THE CONCERT.

Act 1st.

Grand Overture of Haydn

Quartetto of Pleyel

A song by Mr. Courtney

Duetto, violin and clarinet, of Michel

Sinfonie concertante of Davaux

1) It should be remembered that Mozart figured none too prominently on concert
programs before 1800 even at Vienna!

2) From 1790 on this form of the name prevailed,

3) City Gazette, Feb. 12 and 16, 1793.

— 29 —

Act 2d.

Concerto grosso of Corelli

A French song, accompanied with guitar and vioUn

Concert, violin Giornovichi

Concerto, grand pianoforte, Hoffmeister

To conclude with a favorite

Sinfonie of the celebrated Pleyel."

This was followed on Dec. 17 at Williams' Coffee House by a concert
for the benefit of "Messieurs Petit, Le Roy, Foucard and Villars, musicians,
instructed by the most eminent professors in their line in Europe" i). The
"Distribution" reads:

Grand Overture, music of Heyden

Clarinet Concerto, Mr. Foucard.

Quartette (by Pleyel) Messrs Petit, Poition, Villars and Le Roy

A Song, by Mr. West, jun.

Violin Concerto and Marlborough, with the variations, by Mr.

Duport, aged 13 years.
Overture of Carvane, music of Gretrie.

Second Part.

Grand Overture, music of Gretrie.

Clarinet quartetto, by an amateur

A Concertant symphony for two violins and tenor, by Messrs.

Le Roy, Poition and Villars
A Song by Mr. West, jun.
VioUn concerto, by Mr. Petit

The concert will conclude with the Overture of Henry IVth.^)

The most important concert of 1794 was the one held on March 6th
under the patronage of the St. Ceciha Society at West & Bignall's Theatre
"for the benefit of the distressed inhabitants of St. Domingo now in this
city" with the following rather miscellaneous program^):

Act 1st.

Sinfonie Pleyel

Song, Mr. Chambers

Quartett Violin Pleyel

Song, Mr. CUfford

Overture Gretrie

Act 2d.

Grand Overture (la Chasse) Gossec

Song, Mr. West

Sonata Pianoforte, Rondo by Mrs. Sully

Duett, Mr. Chambers & Mrs. Chambers.

1) City Gazette, Dec. 12 and 14, 1793.

2) Probably the one by Martini.

3) City Gazette, March 6, 1794.

— 30 —

Act 3d.

Grand Overture - Haydn

Song, Mr. Chambers

Concerto Violin, by Mr. Petit Viotti

Glee, Mr. Chambers, Mrs. Chambers, and Mr. West.

After the Concert
A Double AUemande and Reel, by Mr. M. Sully, Mrs. Chambers

and Miss Sully.
A Grand Ballet, by Mons. Francesquy, Mons. Dainville, Mons.

Val and JNIadame Val.
The whole to conclude with Manly Feats of Activity by Mr.

M. Sully.
Boxes to be taken as usual. Tickets at 5 s each . . . None but
the managers admitted on the stage."

Also a concert may be noted which Mr. CUfford, a member of West and
Bignall's company, advertised early in July. It seems that his benefit at
the theatre was not a "good benefit" on account of the inclemency of the
weather and Mr. Chfford who was terribly in debt proposed having a concert

"wherein he hopes for their patronage [of the ladies and gentlemen of Charleston]
that he may act Uke a man of principle and honor to those whom he may owe any
thing to, being desirous not to leave Charleston with a dishonourable name!"

Whether the concert, so oddily advertised, took place I did not ascertain.

For the year 1795 the data are somewhat more numerous and interesting.
The first was a "grand concert" given by Mr, Jacobus Pick on March 26th
at WilHam's Concert Room with this program i):

Act 1st.

Overture, composed by Girovetz

Song, by Mrs. Pick

Quartetto Pleyel

Concerto on the Clarinet, composed and performed by .. .. Mr. Dubois 2)

Song, by Mr. J. West

Rondo Pleyel

Act 2d.

Sinfonie Haydn

Song, by Mrs. Pick

Concerto on the Violin, by Master Duport La Motte

Song, by Mr. J. West

Sonate on the Pianoforte, by Mr. Eckhard Dussek

Duetto, by Mr. and Mrs. Pick

Pot Pourris on the Harmonia, by Mrs. Pick

Sinfonie Pleyel

Though a program like this did not consume much more than two
hours, as the symphonies of Haydn and his contemporaries are very much

1) City Gazette, March 26, 1795.

2) The advertisement reads "Mrs. Dubois", evidently a mistake.

— 31 —

shorter than those of Beethoven, not to mention Bruckner or Mahler, yet
it is well known that our forefathers possessed wonderful endurance. (Beet-
hoven's concerts at Vienna!) Furthermore it is claimed that the custom
prevailed to advertise a whole symphony though frequently only one or
two movements were really played. It is also interesting to note that the
time had not yet come when a rigorous distinction was generally made
between orchestral and chamber-music programs. This observation apphes
even more strongly to the program as inserted by Mr. J. West for his benefit
concert at WiUiams' Assembly Eoom on April 16 1):

Act 1st.

Sinfonie Haydn

Song, Mrs. Pick

Quartetto Daveaux

Song, J. West

Sonata, grand pianoforte, Mrs. Sully

Song, Mad. Placide

Rondo Pleyel

Act 2d.

Sinfonia Guenin

Song, J. West

Concerto Clarinetto, Mr. Dubois

Song, Mrs. Pick

Sonata, grand pianoforte, Mrs. Sully

Duetto, Mrs. Placide and J. West

Grand Sinfonie Pleyel

After the concert the music will attend as usual to accommodate any parties who
wish to dance.

In the meantime, on April 9th in the City Gazette, "Citizen" Cornet
announced that he had

"established in the house in Broadstreet, near Kingstreet, in which the baths
were formerly kept, a Vaux Hall, after the Parisian maimer, in which there will be
dancing on every Saturday . . . the orchestra will attend at American or French socie-
ties if required ..."

but evidently the estabhshment was not opened until late in October, for
we read in the City Gazette, Oct. 22:

"Citizen Cornet has the honour to inform the pubUc that the opening of Vaux
Hall will be on Saturday next, the 24th instant, at 7 o'clock in the evening, at Xo. 44,
Broadstreet, near King Street. There will be an excellent Orchestra of French Music
a supper and refreshments. The price is two dollars for each gentleman, accompanied
or not by ladies."

The Vaux Hall was closed on Oct. 31st on account of additions Citizen
Cornet was making. They consisted in decorations by the "Citizen" Audin.
But Citizen Cornet had not merely imbued the American spirit of enterprise.

1) City Gazette, April 15, 1795.

— 32 —

He still possessed the obliging qualities of his race. Thus he notified the
public in December that

"when the night is unfavourable carriages will be sent to the ladies who might
be prevented thereby from honouring the Hall Avith their presence" i).

Probably Mr. Le Eoy did not belong to Cornet's "orchestra of French
music" for otherwise he would have held liis benefit concert at Vaux Hall
instead of at Wilhams' coffee-house on Dec. ITth^), Be this, as it may,
Mr. Le Roy "flattered himself with a hope that the judicious choice of the
pieces [would] induce the ladies and gentlemen of this city to honour him
with their presence".

Act 1st.

Symphonic Hayden

Song, by Mrs. PowTiall

Concerto on the basse, by Mr. Le Roy Pleyel

Duett, by ]\Irs. Pownall and Mr. Bergman

La Chasse Stamitz^)

Act 2d.

Symfonie Pleyel

Concerto, Pianoforte, Mr. De Villers .. Kotzeluch
French song, by Mr. Pownall

Concerto Viohn, by Petit Jernovick

A Favorite solo, by Mrs. Pownall

Overture, the Battle of Ivry Martini

N. B. Between the acts, Mr. Le Roy wiU per-
form several pieces on the Spanish guitar . . .

Silence is requested during the performance."

If this remarkable program allows us to form an adequate opinion of
the musical taste of Charleston, those of the following year will afford an
opportunity for offering a few useful historical remarks in a different direc-
tion. Mr. Le Roy had styled his concert and, historically speaking, justly
so a "grand concert". So did Messrs. Petit and Villars, when they an-
nounced for their benefit at the City Theatre on March 21st*) the following:

"SELECTION.
Act 1st.

Grand Overture Haydn

Concerto, on the Clarinet, by IMr. Foucard Michel

Sonata, Piano Forte, by Mr. Devillers Pleyel

A Favorite song, by ]Mrs. PoA^Tiall

Concerto on the Viohn, by Mr. Daguetty Yarnovick

Sinfonie concertante Pleyel

1) Cornet added to this advertisement (City Gazette, Dec. 12, 1795) that "he
continues to repair and tune musical instruments and he has no objection to go to
the country on this service when he may be required". No doubt but that his services
were frequently required for these were still the days of the capricious harpsichord.

2) City Gazette, Dec. 16, 1795.

3) As a rule, unfortunately no distinction was made between Johann and Karl
Stamitz. The 'La Chasse' symphony was by the latter.

4) Originally announced for March 3d.

— 33 —

Act 2d.

Overture in Samson Handel

Concerto on the Hautboy, by Mr. Graupner^) Fischer

A French song, by INIrs. Pownall

Concerto on the Pianoforte, by Mr. Devillers Bertoni

A Favorite song, by ]Mrs. Pownall

Concerto on the Violin, with the favorite rondo of Marlborough, by

Mr. Petit Viotti

Grand Overture in Heniy IV Martini

N. B. The Piano Forte w'ill be played on by Mr. Devillers, and not,
as it has been announced by a mistake, by Mr. Villars, for whose benefit is
the Concert.

Silence is requested during the performance of the several pieces.

The Concert to begin at 7 o'clock precisely. Seats in the boxes will be
taken previously as usual: Tickets to be had at the Office of the City Trea-
surer, at 6 s. each."

Quite different in character was the concert advertised in the following

manner in the City Gazette March 21, 1796:

SACRED MUSIC.
IVIrs. Pownall respectfully acquaints the public that agreeable to her engagement
with Mr. SoUe, previous to her coming to Charleston, she is entitled to liis theatre, on
Thursday the 24th instant. ReUgious subjects being best adapted to Passion Week,
she has for that evening prepared a Grand Concert Spirituale. or Spiritual concert, con-
sisting chiefly of overtures, songs and duets, selected from the most celebrated of Han-
del's oratorios: the Messiah, Judas JIaccabeus, Esther, etc. etc. arranged as follows:

Act 1st.
Overture to the Messiah, with recitative 'Comfort ye my people,

every valley shall be exalted', by ]\Irs. Pownall
Martini's Grand Overture to Henry the IVth.
Song from the Messiah, 'He was despised', to conclude with

'But Thou did'st not leave his soul in hell', by i\Irs. Pownall.
Duet, from Judas Maccabeus, 'From this dread scene, these adverse

powers', by Mrs. PowTiaU and Miss C. Wrighten

Overture in Sampson Handel

Act 2d.

Overture, Occasional Oratorio Handel

Song from 'L' Allegro il Pensorosi' [!], 'Sweet bird', by Mrs. Pownall

accompanied on the violin by Mons. Petit
Concerto Pianoforte, by Mr. De Villers
Song from the Messiah 'Rejoice greatly, 0 Daughter of Sion' by

IVIrs. PoAMiall
Concerto Clarinet, by Mons. Foucard
Song from the Messiah, 'He shall feed his flock Uke a shepherd', by

Mrs. Pownall
Duet from Judas Maccabeus 'O lovely peace with plenty cro^Ti'd',

by Mrs. Pownall and Miss Wrighten.
Overture to Esther Handel

N. B. Silence is requested during the performance of the several pieces.
The concert to begin at 7 o'clock precisely. Doors will be open at six. Tickets
... at 5 s each."

1) As Gottlieb Graupner became more prominent at Boston, more will be said of
his career in a subsequent chapter. At Charleston Graupner was a member of the
City theatre orchestra.

Sonneck, Early Concert Life. 3

— 34 —

On March 24th the City Gazette informed the pubhc that a "synopsis
of the concert . . . with the words of the anthems^ songs etc." was for sale
at the Columbian Herald Printing Office and that this synopsis would be
necessary for every lady and gentleman as no bills were to be distributed
in the house, thereby impl}dng that the distribution of bills had been custo-
mary at previous concerts. Evidently Mrs. Pownall'si) idea, unusual for
Charleston, of giving a Spiritual Concert met with pubhc approbation as
she gave" some additional sacred music and oratorio . . . and several serious
readings by [the actor] Mr. Chalmers" on March 26th2).

Still more important was a concert to which, by the way, perhaps for

the first time in our country the title 'Musical Festival' was applied. The

fact that Gluck's overture to Iphigenie en Aulide and Haydn's only Stabat

Mater, composed probably in 1773 and over which Hasse grew so enthusiastic

and Reichardt later on so critical, were performed and also the fact that

the announcement contains some very interesting particulars as to the

orchestral forces employed, certainly warrant a reprint of the advertisements

relating to the occasion as they appeared in the City Gazette, April 18 and

July 2.

"GRAND MUSICAL FESTIVAL.

For the benefit of Mr. Poiteaux, who informs the public that on or about the first
of June next, will be performed at the Charleston Theatre, the celebrated Stabat Mater
of Doctor Haydn, with a few selected pieces of instrumental music, as shaU be more
fully expressed in the bills of the concert.

The solos, duettes and chorusses and instrumental parts to be filled up by the
most eminent professors and amateurs in to^vn, who have all offered their assistance
for this singular occasion. Besides the vocal parts, the orchestra shall be composed
as follows: one organ, twelve vioUns, three basses, 5 tenors, six oboes, flutes and clari-
nets, two horns, one bassoon, and two pair kettle drums, in all 30*).

1) This great actress and singer was known in England as Mrs. Wrighten, of whom
English critics said that she could not be equalled as Lnicy in the Beggar's opera and
Mr. Seilhamer claims that she was surpassed as a singer by Mrs. Billington and Mrs.
Oldmixon only. She was also famous as Vauxhall singer. Mrs. Pownall came to America
in 1792 as member of Hallam and Henry's company.

2) I wish to call the attention of readers not familiar with the historical vicissi-
tudes of Oratorio to the fact that also in Europe it had become customary to apply
the term to entertainments in which either an entire oratorio was performed or mis--
cellaneous selections from such and that it was also quite customary to perform con-
certs, etc. between the acts or numbers. Compare, for instance, Hanslick's book on
concerts in Vienna.

3) The modern, but as all sensible lovers of art hope, soon antiquated craze for
enormous halls, enormous orchestras, enormous music, makes even those who should
know better, too often forget that entirely different conditions prevailed during the
eighteenth century. Indeed, the usual performances of 18th century music, the early
Haydn included, are but caricatures with several dozen string instruments drowning
the desperate struggles of two oboes, two flutes etc. for a hearing and the backbone
of the whole, the harpischord, being cheerfully cut out of the body orchestral in favor
of artificial trimming and stuffing for the further display of the string quartet. Yet
it would be so easy to infuse style into these renditions if only the conductors would
cast a glance into Quantz, Ph. Em. Bach and other writers or study the orchestra

— 35 —

The above hymn has met with great applause at the pubUc and private concerts
in London and as Mr. Poiteaux will spare no trouble, time or expences in getting it
up, no doubt but the greatest success will attend the execution of it.

The Hymn and a translation of it shall also be published in future bills."

In addition to this we read in the City Gazette, July 2, 1796 further
details :

Grand Overture (with a full orchestra of upwards of thirty performers) by Gluck
in Iphigenie.

Chorus — Mrs. Pownall, Miss M. Wrighten, Miss C. Wrighten, Messrs. Douvillier,

Bergman, Erimbert, Harris, J. West etc.
Solo — Mrs. Pownall
Chorus — as before
Solo — Mrs. Pownall
Solo — Mr. J. H. Harris
Solo — Mr. Bergman
Chorus — As before
Violin concerto of Jarnowick — Mr. Poitiaux

statistics as laid down in Marpurg's 'Historisch-kritische Beitrage', 1754 — 1757. There
we find that the orchestra consisted at the court of Gotha of 15 instrumentalists, of
Prince Henry of Prussia of 11, of Prince Carl of 17, of the Bishop of Breslau of 17, of
Count Branicki of 19, of Rudolstadt of 27, of Anhalt of 16, of Salzburg of 32, of Berlin
of 36 only! According to Laborde the opera orchestra at Paris numbered 47 persons
in 1713 and 64 in 1778 but this was proverbially an enormous orchestra and it should
not be overlooked that "tous les instruments comme tymbales, trombones, tambourins
se remplissent par quelques' uns des 64 musiciens". According to Durey de Noinville
not more than 36 instrumentalists were employed in the orchestra of the world-famous
Concert Spirituel in 1751 ! The nearest approach to our modern orchestra (in balance
rather than in size) was to be found at Mannheim. There the celebrated 'Churfiirstlich
Pfalzische Capell- und Kammermusik' consisted in 1756 (see Marpug) of 10 first, 10
second violinists, 2 flutists, 2 oboists, 4 'celhsts, 2 double bass players, 2 bassoonists,

4 viola players, 4 horns, 2 organists, "annoch zwolf Trompeter und zwey Pauken".

To illustrate the expansive tendency I quote from Mizler's Musikalische Bibliothek,
1754 and Kunzen und Reichardt's Studien, 1793 the following specifications of the
court-orchestra at Berlin. 1754: 12 violinists, 4 flutists, 3 oboists, 3 viola players,

5 'cellists, 1 lutenist [!], 3 "Clavierspieler und Compositeurs", 3 bassoonists, 2 "violons",
1791: 2 Capellmeister, 2 Concertmeister, 2 Clavecinisten, 1 harpist, 27 violinists,

6 viola players, 9 'cellists, 5 double-bass players, 4 flutists, 5 oboists, 3 clarinetists,
5 hornists, 5 bassoonists, 1 Serpante, 2 trumpeters, 4 trombonists, 1 kettle-drum player.

But the orchestras at Berlin and Paris were by no means typical. We know, for
instance, that even in Beethoven's time, in 1784, the kurkoellnische Orchestra at Bonn
numbered only 22 musicians and Koch says (under Besetzung) in his Musikalisches
Lexikon, as late as 1802: "Man nimmt gemeiniglich an, dass z. E. mit acht Violinen,
zwey Violen, zwey Violoncelle, und zwey Contraviolone verbunden werden, wenn die
Stimmen verhaltnissmassig besetzt seyn sollen", i. e. in proper proportion to the
usual reed and brass instruments. If this was the average orchestra at the beginning
of the nineteenth century, Rousseau, under Concert, defines the minimum generally
accepted about 1768 as follows: ''On ne se sert gueres du mot de Concert que pour une
assemblee d'au moins sept ou huit musiciens, et, pour une musique a plusieurs
parties".

Without pretending to have gone into this matter very deeply, I hope to have
made it clear that orchestras like that employed at Charleston on the above mentioned
occasion were quite respectable in size even if measured by European standards and
this footnote will serve as a danger signal for all those Avho, because of unfamiliarity
with the subject, are apt to believe themselves transported into ridiculously primitive
conditions because our early American orchestras numbered only from ten to fifty
performers !

— 36 —

Duetto — Mrs. PoAvnall and Mr. Douvilier

Solo — Mr. West

Chorus — As before

Solo — IVIr. Erimbert

Solo — Mrs. Pownall

Grand chorus — As before

Martini's Grand Overture, with full orchestra, in Henry the IVth.

Mr. Poitiaux informs the pubUc that every exertion has been made use of on his
part, and by those Gentlemen who assist him, to render this night's entertainment
one of the grandest ever known here ; the piece having already been two months in
rehearsal, promises great success in the execution.

Tickets for the boxes, pit or gallery five shiUings each, to be had at Mr. Young's
bookstore, at Mr. Bradford's music store and other usual places.

The Stabat, with a translation in English verse, by the Rev. Doctor Gallaher,
of Charleston, wiU be given with the tickets.

The Concert will begin precisely at eight o'clock and finish a quarter after ten.
The greatest silence is requested during the performance.

Leader of the concert, Mr. Petit.

Organist, JVIr. DeviUers.

On August 1st, Mrs. Pownall was again advertised to sing at Williams's
Long Room on August 4tli for the last time in America, but on the morning
of the concert she printed a card in the newspapers

"that from an unforeseen and unnatural change which has taken place in her family
she is rendered totally incapable of appearing this evening; she, therefore, declines
giving the entertainment at Williams's and requests those persons who have bought
tickets to return them to her at Mr. Rogers's in Broadstreet and receive their money.

The unforeseen and unnatural event in Mrs. Pownall's family was the
elopement of her daughter Caroline Wrighten with Alexander Placide, the
pantomimist. The effect of the elopement upon Mrs. Pownall, says Mr.
Seilhamer, was completely to prostrate her, the shock proving so severe
that she died on the 11th of August, only eight days afterward, it was said,
of a broken heart. Although this distinguished actress had made her London
dehut under the name of Mrs. Wrighten as early as 1770, she was, according
to the obituary notices in the Charleston papers, only in her fortieth year
at the time of her death.

The only benefit concert of the year 1797 I traced, was given on March 9th
at Williams's Long Room for the benefit of Mrs. Lafar, "the widow and
children of the late Mr. Joseph Lafar, musician" i) who had died in dis-
tressed circumstances. On this occasion Messrs. Petit, Foucard, Daguitty,
Brunette, Villars, De^^llers, Legat, Eckhp-rd etc. as "instrumental principal
performers" and Mrs. Placide and Mr. J. West as vocal, generously assisted
in rendering the following program, interesting because a symphony by
Mozart appears thereon though we are not told which of the tliirty-four (?)

1) City Gazette, March 6, 1797.

— 37 —

written by the master, then still considered somewhat of a musical anar-
chist, was played.

PLAN OF THE CONCERTi).

Act 1st.

Overture in Iphigenie Gluck

Song, IMrs. Placide

Concerto, Mr. Devillers Krumpholtz

Duet, Mr. West and Mrs. Placide

Rondo Pleyel

Act 2d.

Grand Simfonie Mozart

Song, Mr. West

Concerto Violin, Mr. Petit Jaruovick

Song, Mr. West

Simfonie Massonneau.

In the City Gazette, Oct. 10, 1798 Mr. Edgar, like most of the persons
who gave concerts in those years, a member of the Charleston Theatre
company, announced for the same evening:

A CONCERT of Vocal & Instrumental Music, intermixed with Readings and
Recitations.

Part I.
Will be recited a piece, called The Prodigal ... by Mr. Waldron

Part II.
A Variety of Singing, with the friendly aid of some gentlemen of this city.

Part III.

Extracts from the late celebrated Oration of the Honourable H. W. Dessaus-
sure, Esq.

Part IV.

An Occasional epilogue, by INIr. Edgar.

Part V.
Will be recited . . . Scenes . . . from Mr. Murphy's Farce of Three Weeks after
marriage.

Shortly afterwards, on Nov. 8, 1798 was advertised for the same evening
for the benefit of Mrs. Grattan at Williams's Long Room a concert, which
really was a concert. The program reads:

Act 1st.

Sinfonia Haydn

Clarinet Concerto, by Mr. Foucard IMichel

Bravura song Sacchini

Solo Pianoforte (Mrs. Grattan) Clementi

1) City Gazette, March 8, 1707.

— 38 —

Act 2d.

Overture Vanhal

Quartette, by Mi-. Daguetti,i) Pleyel

French song, accompanied on the harp by Mrs. Grattan .. MiUco
Violoncello concerto, by Mr. Dumarque, lately arrived from

Philadelphia Dumarque

Hail Columbia TaylorS)

On March 5th 1799^) the violoncelUst Demarque, alias Dumarque gave
a concert "composed of some of the first musicians of this city". . . "at Wil-
liams's Coffee HousCj in the room occupied generally by the St. Coeciha
Society" with a program on which the "local" composers seem to have
figured prominently:

Act I.

Sinfonia Gerowitz

La Bataille de Trenton M. De Villers

Song (the Soldier tir'd etc.), Mrs. Grattan.

Concerto Clarinet ]\Ir. Foucard

Rondo Pleyel

Act II.

Sinfonia Haydn

Concerto Violin, IVIr. Petit
Concerto Pianoforte, Mr. De Villiers
Concerto Violoncello, Mr. Demarque

To conclude with the celebrated song of Hail Columbia, by
Mrs. Grattan.

After which the ball will commence. The concert to begin precisely at
7 o'clock . . .

"Weather permitting" Mr. Labatut, a clarinetist, announced for his
benefit on Dec. 14, 1799 the following program:

Part I.

Grand simphonia Haydn

Quartetto, Flute Pleyel

Song, by Mrs. Placide

Duetto, Pianoforte by ^Mr. Eckhard & Son Pleyel

Concerto de clarinet Vanderhagen

Finale Haydn

Part II.

Grand overture Gyrowetz

Sonata, Pianoforte by Mr. Eckhard .. Cramer
Song, by Mrs. Placide

Simphonia concertante Daveaux

Quartetto, Clarinet, by Mr. Labatut.

Grand Simphonia Cimarosa

1) He evidently was the primarius. His name was spelled in many different
ways.

2) Of course, this does not mean that IVIr. Taylor was the composer of Hail Columbia
but that be sang it, the audience possibly joining in the chorus.

3) City Gazette, March 4, 1799.

— se-
ll! the same year a third attempt was made to estabhsh a Vaux-Hall
at Charleston. This time by the popular ballet-dancer Mons. Placide who
inserted in the City Gazette, June 19:

VAUX HALL GARDENS, corner of Broad and Friend Streets.

Mr. Placide ... in consequence of the advice of his friends . . . has established
that extensive garden now in his possession as a Vaux Hall ; where every kind of accom-
modation and refreshment will be given to those who wish to spend an agreeable
evening.

The airy and healthful situation of the Garden; a Military Band, composed of
musicians, masters in their profession; elegant illumination in the many avenues and
arbours, the low price of admittance, and the particular attention that will be paid
to the visitors — are considerations which induce him to think that he will be highly
compensated by a generous pubhc, for all the very great expences he has incurred by
establishing this novelty in the summer amusements of the citizens of Charleston.

N. B. The Vaux Hall will open on IMonday evening next and continue for the
summer season two evenings in a week, viz, Monday and Thursday . . . The band will
play from eight to half past ten. Tickets of admittance, half a dollar . . .

Though on the opening night "strawberry ice-cream for this night
only" was to be had, the "concourse" of visitors was so great that not
enough benches and other accommodations were to be found. In later ad-
vertisements the pubUc was informed that no "persons of color" would
be admitted and no absence checks would be given to those who might
wish to retire before the Vaux-Hall was over. This last rule was modified
in the second season in so far as "to prevent confusion gentlemen are re-
quested, when they wish to go out, to leave something with the doorkeeper"!
Such restrictions, however, did not interfere with the popularity of the
resort and encouraged by pubhc support Placide went to the expense of
engaging the opera-singer Mr. Chambers, just returned from Europe, as
star. Other vocalists were Mr. and Mrs. Marshall, Miss Sully, a pupil of
Mr. Chambers, and Mrs. Placide. Occasionally fire-works were added and
as "cold supper [was] prepared at a minute's warning, with additional
refreshment" it goes without saying that Placide's Vaux-Hall became a
very popular resort. The programs were announced regularly but it will
be sufficient to quote the one for the opening night, June 23, 1799 as it is
typical.

"At half past eight o'clock — 'Lovely Man' — Mrs. Marshall

At nine o'clock — ■ 'Loose were her tresses seen' — Mrs. Marshall

At half past nine o'clock — 'Listen to the voice of love' — Mrs. Placide

At ten o'clock — 'Ah, why confine the tuneful bird' — Mrs. Marshall

At half past ten o'clock — Trio 'Sigh no more, ladies' — Mr. and Mrs. Marshal

and JVIrs. Placide.
The music to begin at 8 o'clock.

On special occasions Mr. Placide outdid himself to satisfy his guests.
For instance on July 8, 1799 "a painting, representing the Independence
of America, or the Fourth of July, painted by Mr. Belzous" was to be raffled

— 40 —

and a feature of his Vauxhall, reminding us slightly of Bayreuth, was this
that "a bell [would] ring five minutes previous to each of the songs". That
Mr. Placide^ — in print at least — had become a very patriotic American
will be seen from a poetical effusion which he inserted in the City Gazette,
July 3, 1799 in anticipation of good business on the glorious Fourth:

ODE TO VAUX HALL.
Ye Belles and Beaux, who take delight
In pastimes gay to spend the night,
To Vaux Hall Garden each repair
Were music soft and debonnaire.
With pleasing rapture fires the mind.
And dying murmurs to the wind;
Where the jet d'eau delights the eye,
Throwing its water to the sky;
While Hail\ Columbia [ from the band
Proclaims a free and happy land.

Apparently our poet monopoUzed the musical interests of Charleston
for I found no concerts given in 1800 outside of Vaux-Hall except one and
by a very curious coincidence it will be seen that both the first and the last
concerts given at Charleston during the period here treated were for the
benefit of two musicians bearing the same name: Salter. As the second
Mr. Salter called himself in a concert advertisement in the Virginia Herald,
Fredericksburg, Va., May 9, 1800 "organist, late from England" he pro-
bably was not a descendant of the Mr. John Salter to whom Charleston
owed so much during the thirties. The second Mr. Salter appears to have
been organist at New Haven, Conn, about 1798. He then drifted gradually
to the South, giving concerts for instance at Trenton and Brunswick in
1798. At Charleston he then inserted the following pathetic annorncement
in the City Gazette, March 1, 18C0:

To the humane and friendly.

Mr. Salter respectfully informs the ladies and gentlemen of this city that he has
lately been affUcted with the loss of sight, which incapacitates him from following
his profession as a teacher of music ; and he is obliged to solicit the attention and favours
of a generous and humane pubhc, to enable him to support a wife and three young
children.

With the assistance of the performers of the St. Cecilia Society, on Thursday next,
the 4th of jMarch, at the Concert Room in the Coffee House, he will give a Concert of
Vocal and Instrumental Music in which he and his daughter will take a part.

Tickets, at one dollar.

These pages on early concerts at Charleston will have proved how in-
dispensible a careful study of our old newspapers is if a half-way compre-
hensive insight into the history of early music in America is desired. Un-
fortunately the files of these old newspapers are very incomplete, but what
is a stiU greater obstacle to individual research consists in this that they

— 41 —

are so exasperatingly scattered through the different Ubraries of the East.
In compihng data for a history of early music in America, one is almost
compelled to check the scattered files as if the work was intended rather
for a. history of early American newspapers. I was able to submit some
interesting information on concerts at Charleston because of the ex
cellent condition of the Charlestonian papers as on file at the Charleston
Library Society, but this file is exceptionally perfect. As soon as other
Southern cities, prominent in those days, as Annapohs, Md. and WilUams-
burg, Va. are approached the obstacle mentioned is very depressing. The
people of Maryland and Virginia were never inchned to be ascetic. They
enjoyed the pleasures of life, they freely patronized dancing assembhes^)
and theatrical performances, they loved music and yet concerts are not
easily traced. In fact, I found only one advertised in the Maryland Gazette
of Annapohs before 1760 and this was not given at Annapohs but at a place
now insignificant, at Upper Marlborough. The "grand concert of music"
was advertised on June 14 for June 28, 1753.

The perusal of the rather imperfect Maryland Gazette of Annapohs for
the years 1760 — 1800, as on file at the Maryland Historical Society, the
Library of Congress and Harvard University, does not yield much better
results. But as several musicians may be traced at Annapohs and as several
theatrical companies occasionally performed there with George Washington
in the audience, the inference is reasonable that the few concerts traced
by me were not the only ones given.

In Oct. 1774 George James L'Argeau, a speciahst on the Musical Glasses,
announced that he would perform on this instrument daily between the
hours of 3 and 6 for half a dollar each. We also learn that he had opened
a dancing and fencing school, a frequent combination in the formative
period of our early musical hfe. Not until the year 1790 did I run across
any entertainments, properly to be termed concerts. Then a Mrs. Sewell
advertised on Dec. 16 for the same evening "her musical entertainment
and ball ... at the ball-room" but not even the price of admission is men-
tioned. Two years later Raynor Taylor appeared at Annapohs. Being a
musician of recognized attainments, as will be seen in subsequent chapters,
he certainly felt out of place in these primitive musical surroundings. He
had been appointed organist of St. Anne's in Oct. 1792 but from an ad-
vertisement that appeared in the Maryland Gazette, April 11, 1793 it would

1) In his 'Travels through the Middle Settlements of North America in 1759/60 ...'
(1775) Burnaby, when describing the ladies of Virginia goes so far as to say that "they
are immoderately fond of dancing . . . Towards the close of the evening, when the com-
pany are pretty well tired with country dances, it is usual to dance jiggs, a practice
originally borrowed, I am informed, from the negroes . . ."

— 42 —

seem that those gentlemen who induced him to accept the position had
preferred not "to pay the half year's subscription" due on his salary. Evi-
dently the employment of a collector availed Uttle. Under the circum-
stances, Raynor Taylor decided to leave AnnapoUs end of May, not without
thanking publicly those famihes who had employed him as music teacher
and requesting his debtors to make apphcation for payment. During his
short career at Annapolis he gave two entertainments or "Extravaganzas"
of the Olio species, for which he was famous both in England and in America.
The program of the first may follow here as announced in the Maryland
Gazette Jan. 24, 1793, that of the second performance on Feb. 28 with
his "burletta never performed, called The Old Woman of Eighty-Three"
as piece de resistance being very similar in character:

TAYLOR'S MUSICAL PERFORMANCE at the Assembly Room, Aimapolis
on Tuesday next the 28th of January will be performed an Entertainment in three
parts.

Part I.
A Selection of Comic and pastoral songs. Consisting of 'Gay Strephon', a

comic song, by Miss Huntley.
The 'Scornful lady; or I wonder at you', by Mr. Taylor.
'Amintor, or the Arcadian Shepherdess,' a pastoral, by Miss Huntley.
'Jockey and Moggy^, a comic song, by ]\Ir. Taylor.

The 'Happy Shepherd and shepherdess', a pastoral duet, by Mr. Taylor and
Miss. Huntley.

Pakt II.
A Dramatic proverb (performed in London with great applause) being a
burletta, in one act, called

The GRAY MARE'S THE BEST HORSE.

Consisting of 'A Breakfast scene a month after marriage', a duet by Mr. Taylor

and Miss Huntley.
The 'Mock wife in a violent passion' by Miss Huntley.
'A Father's advice to his son in law', 'Giles the countryman's grief for the

loss of a scolding wife', the 'Happy Miller', by Mr. Taylor.
'Dame Pliant's obedience to her husband', by Miss Huntley.
The 'Obedient wife, determined to have her own way', a duet.
'New married couple reconciled', a duet.
Finale, 'AH parties happy', a duet.

Part III.

A Mock Itahan opera, called CAPOCCHIO AND DORINNA, dressed in character.
Signor Capocchio, an Itahan singer and director of the opera, by Mr. Taylor.
Signora Dorinna, an Italian actress, by Miss Huntley.

Consisting of recitative, airs and duets.

Capocchio's application to Dorinna to engage her as a singer.

Capocchio requests Signora Dorinna to sing, her affectation there upon, and
his admiration of her performance, a duet.

Cappocchio's 'Declaration of love to Dorinna', a song, by Mr. Taylor.

'A Description of an opera audience', a bravura song, by Miss Huntley.

Her very modest and reasonable demands for her performance, and Cappoc-
chio's ready comphance.

— 43 —

Her engagement settled, a duet.

Each part to be preceded by a piece on the Grand Pianoforte, by Mr. Taylor.
The whole of the music original and composed by Mr. Taylor.
Tickets one dollar each . . .

Young ladies and gentlemen, under twelve years of age, may be accommodated
with tickets at half a dollar each. To begin at seven o'clock.

Besides Taylor's extravaganzas may be mentioned "a new species of
entertainments" with which the actors Chalmers and Wilhamson "pre-
sented" the ladies and gentlemen of Annapolis in December 1797 at the
Bail-Room. They were called

''The TABLET, or, just in time, consisting of readings, recitations and songs".
The only item of interest about these affairs is that "particular care will be paid to
keep the room warm".

Baltimore, though founded not very much later than Annapohs^), soon
became the more important of the two cities. Her natural growth naturally
carried with it a speedy development of musical Ufe but not until after the
War of the Revolution did this become noticeable. Then opera, concert-
hfe, music trades and so forth began to flourish in proportion to the general
prosperity of the city and for a while it looked as if Baltimore was destined
to ultimately rival older cities hke Philadelphia or Boston in musical matters.

Though sporadic concerts may have preceded it, one given in 1784 was
the first to attract my attention. Wilham Brown, the flutist of Philadelphia
fame, announced the entertainment for his benefit in the Maryland Journal
for Jan. 30th not without remarldng that his "superior talents on the Ger-
man flute gained much applause in Europe and this country" 2). This
concert consisted of vocal and instrumental music whereas for June 15,
1786 a concert of instrumental music only was to take place at Mr. Grant's.
This was followed on September 28th by a concert of vocal and instru-
mental music with a ball at Mr. Page's Concert Room when a musician
made his bow to the music lovers of Baltimore whose name is connected
with the musical origin of 'Hail Columbia'. The fact that the concert for
the benefit of Philip Phile, the violinist, took place at a place termed a
Concert Room would lead us to infer that concerts were not uncommon
in Baltimore, though now traced with difficulty. This supposition is strength-
ened by the announcement in the Maryland Journal Nov. 9, 1787 that.

"This evening, at the request of a number of gentlemen, promoters of the Balti-
more dancing assemblies and concerts for the season, will be a concert at Mrs. Stai'ck's
new building."

1) First settled in 1662 Baltimore became a town in 1730. In 1752 B. had 200
inhabitants, in 1775—6000, in 1790—13500 and in 1800—26500.

2) During these years George James L'Argeau who settled at Baltimore about
1780 gave daily performances on the Musical glasses as he had done previously at
Annapolis.

— 44 —

Finally, by turning to the files of the Maryland Gazette of 1786 the
necessary evidence is gained, for the following advertisement on April 14,
proves that subscription concerts were founded in 1786:

CONCERT.

It is proposed to establish a Musical Concert, by subscripton for three months
certain or any time longer the subscribers may chuse, to be held at Mr. William Page's
large room in Gaystreet, which room is extremely adapted for the purpose. There
are already provided, several well-toned instruments and suitable music, with eight
capital performers. — As every attention will be observed to conduct the performance
in the most elegant and approved manner it is hoped that the proposal will meet with
the approbation and encouragement of those ladies and gentlemen who are friends
of the polite arts. — Subscription papers with the Rules of the Society are lodged in
the hands of several gentlemen at Mr. Page's in Gaystrefet, and Mr. Murphy's bookstore
in Market Street i).

Whether these concerts were connected or not with subscription concerts
evidently given in 1788 or early in 1789 by a Mr. Boyer would be difficult
to ascertain. At any rate, on Friday April 3, 1789 through the medium of
the Maryland Journal:

"The public are respectfully informed that there will be a concert performed on
Thursday next, at Mr. John Starck's tavern. Those ladies and gentlemen who have
heretofore honoured Mr. Boyer with their subscriptions, are in a particular manner requested
to attend the same."

This concert was postponed "for a short time" and on April 14, Mr.
Boyer announced that his next would be given "at Mr. Daniel Grant's
Fountain Inn." A third (?) was advertised by Mr. Boyer on May 22 to
take place "at Mr. John Starck's Indian Queen".

In November of the same year Ishmail Spicer opened his 'Singing school
in the Court House ... for the improvement of church musick", or rather
psalmody as his proposals were printed under this heading. Less than
half a year afterwards, Mr. Spicer considered the progress made by his
pupils sufficient to exhibit them in a concert of sacred music at the Pro-
testant Episcopal Church "on the first Monday in May". As the adver-
tisement appeared in the Maryland Journal, Friday, April 16, 1790 the
date of performance was May 3. The money arising from the sale of tickets
was to be left in the hands of Mr. James Calhoun "to be appropriated to
such charitable and useful purposes as shall be approved of by . . . a com-
mittee appointed for the purpose".

A few w^eeks later the musical pubhc of Baltimore had occasion to enjoy
a concert of quite a different character as will be seen from the program,
thus advertised in the Maryland Journal, May 25:

1) William Murphy, it seems, was the first to circulate music in Baltimore. Ad-
vertisements to that effect appeared in 1785.

— 45 —

A GRAND CONCERT Vocal and Instrumental will be performed at ]Mi-. Starck's
rooms, at the sign of the Indian Queen in Market Street, on Friday evening, next the
28th instant, by a company of French musicians, lately arrived in this town. It will
begin precisely at eight o'clock.

First act.

1st. A Grand symphonia, in full orchestra.

2d. An opera song, by M. de Lisle, with its accompaniments.

3d. The Overture of the Two Grenadiers, a modern opera.

4th An Opera song, by Mrs. de Lisle.

5th Concerto de Faudo [Fodor?] by Mr. Emanuel.

Second act.
6th A Grand symphonia, in full orchestra.
7th A Favorite song, from the celebrated opera, Richard Cceur

de Lion [by Gretry] by INI. de Lisle.
8th An other favorite opera song, by Mrs. de Lisle.
9th A Duet for two voices, by M. and Mrs. de Lisle.
10th Solos on the violin, by M. Emanuel.
Tickets may be had at the bar of the Indian Queen at one dollar each. — No Person
will be admitted without a ticket.

The performers in this concert take the liberty to intreat the protection and counte-
nance of the ladies and gentlemen of this town. They have been induced" to come to
America by the deserved reputation which the inhabitants bear abroad of possessing
a taste for the polite arts, and especially the music i). They therefore assure the pubUc,
that every possible exertion shall be made by them to gratify it ; in the accompUshment
of which, they shall deem their arrival in this part of the American empire, one the
happiest events of their lives.

The same, exceedingly polite and flattering musicians reappeared in
a similar concert on June 4, the program comprising among other numbers
a "new quatuor" and songs from Gretry's opera Zemire and Azor. They
then treated on June 12th the pubhc of Baltimore to a performance of
Pergolese's Serva Padrona under the title of "The Mistress and Maid. The
music by the celebrated Italian Pere Golaise", the compositor evidently

1) This compliment was very flimsy. I believe to be famihar with most of the
autobiographies, diaries, accounts of travels referring incidentally to music in America
and certainly this "deserved reputation" could not very well be founded on such au-
thors, as f. i. 'The American traveller', Anburey, De Beaujour, Boyle, de Crevecoeur,
A. M. C. M., Davis, Kalm, Fontaine, Dunton, De Pontbigand, La Rochefoucauld-
Liancourt, Smyth, Thomas, v. Biilow, Wiederhold, Burnaby, etc. On the contrary,
these authors, if they ment oned music at all, had nothing favorable to say about their
impressions. A few quotations will show what even friendly inclined foreigne's had
to say on the subject. Isaac Weld, for instance, wrote in his 'Travels through the
States of North America', 1799: ". . . Their knowledge of music, indeed, is at a very
low ebb". Johann David Schoepf in his 'Reise', Erlangen, 1788 maintained amongst
other things that "die Musik war vor diesem letzten Kriege noch ganz in ihrer Kind-
heit . . . Wahrend des Kriegs und nach demselben aber, hat, durch die von den verschie-
denen Truppen zuriickgebhebenen Musikkundigen, sich der Geschmack weiter ver-
breitet und man hat nunmehro in den grossten Stiidten Conzerte . . . [In Charleston]
soU Geschmack an Musik, Mahlerei und schonen Wissenschaften iiberhaupt, schon
lange her dort allgemeiner sein" ! Perrin M. Du Lac in his 'Voyage' Paris 1805 delivers
himself of this nonsense: "Les talens d'agrement, la musique, la peinture et la danse

— 46 —

endeavouring to put the unfamiliar name of the great Italian tyiaestro into
intelUgible French!

Merely mentioning William Miller's concert and ball at Grant's Assembly
Room on April 6, 1791 two concerts are on record, amongst the first given
in our country by musical prodigies. In the Maryland Journal June 17,
Mr. De Duport announced that:

"Master Louis De Duport's benefit night will be on Thursday the 30th instant,
who will, by particular desire, play a solo concerto of Stamitz on the violin and several
favorite airs with variations. — The ball will be conducted by Mr. De Duport, which
his son Master Louis, will open with the Shepherd's character dance in dresses, and
music adapted to each."

Evidently Master Louis filled the house for "by particular desire" he
had another benefit at the Indian Queen on July 11th the program being
in part:

1. A Duetto, composed by IMr. Breval, and performed by Master De Duport.

2. Solo concerto, composed by Mr. Jarnowick, and performed by Master
De Duport.

Character Dances, composed by ]VIr. De Duport.

1. Le Sauvage in parliament.

2. Harlequin, an entertainment.

These dances will be performed with dresses suitable to each and the Sauvage
pantomime will be redered more natural from the appearance of a forest.

The ball will be opened by eight young ladies who are to dance two Double minuets,
and afterwards a Double cotillion will be performed by sixteen."

In the same year Alexander Reinagle^), the excellent harpsichordist,
conductor and composer inserted the following proposals in the Maryland
Journal, July 29 for a

y seroient encore ignores, si quelques Frangois n'en eussent, depuis c[uelques annees,
apporte le gout avec eux". The English Gentleman who translated the Marquis de
Chastelliix 'Travels in North America' took occasion to add to a few friendly lines in
a footnote: "It is very certain that any person educated in Europe, and accustomed
to the luxury of music and the fine arts, and to their enjoyment in the two capitals
of France and England, must find a great void in these particulars in America. This
the translator experienced during his residence in that country . . ." In Brissot de
Warville's Nouveau voyage, 1788 the most characteristic passage is this: "Music,
which their teachers formerly proscribed as a diabolic art, begins to make part of their
education" and the best the Prince de Broglie had to say is that "some of them [the
women in Boston] are pretty good musicians, and play agreeably on several instruments".
These quotations will suffice to show what foreign travelers really thought of music
in America. The trouble with all these accounts, however, is that their authors either
visited our country during the war, when music naturally was at a standstill, or did
not take the difference in size and population between our cities and London or Paris
into consideration. In short they were good observers but poor historians. Still it
would afford some entertaining reading, if I were to collect all these accounts into a se-
parate essay.

1) Alexander Reinagle, was born in 1756 in Portsmouth, England and died in
Baltimore, Sept. 21, 1809 leaving a melodramatic oratorio based on Milton's Paradise
Lost unfinished. R., a pupil of Raynor Taylor, developed an astonishing activity
as pianist, composer and manager. Perhaps his greatest importance lies in the history
of opera.

— 47 —

SUBSCRIPTION CONCERT of Vocal and Instrumental Music (Under the di-
rection of Mr. Reinagle) the vocal parts by Mrs. Gee.

Conditions.

1. That there shall be two concerts, the first to be held on Thursday the 11th of
August, and the next on the Thursday following at Mr. Starck's Long Room.

2. That every subscriber pay three dollars at the time of subscribing.

3. That every subscriber Avill receive six tickets which will admit himself and
two ladies to each of the concerts.

4. None but subscribers to be admitted.
After each concert there will be a ball . . .

The program of the first concert escaped me. That of the second, on

August 18, was printed in the Maryland Journal August 16 and was worthy

of an artist like Reinagle.

PLAN OF THE CONCERT^
Act I.

Overture of Ditters

Hunting song 'Thro woodlands and Forests' .. Mrs. Gee

Sonata, Pianoforte Mr. Reinagle

Quartetto of Boccherini Mr. Emanuel

Song 'As the Snow' Mrs. Gee

Overture of Bachi)

Act II.

Overture Guglielmi

Ode to Delia ' Mrs. Gee

Sonate, Pianoforte Mr. Reinagle

Concerto, Violin Mr. Emanuel

Two part song Mr. Reinagle and IVIrs. Gee

Finale Pleyel.

A third concert, though probably not on the subscription, was offered
under Reinagle's direction "the vocal parts by Mrs. Morris", the popular
actress and ballad opera singer, on Oct. 18th. About a year later, Raynor
Taylor arrived at Baltimore from London and calUng himself "music pro-
fessor, organist and teacher of music in general" announced his intention
on Oct. 2, 1792:

"to perform a musical entertainment on a new plan, the whole of which will be
entirely original, and his own composition. In the course of it many songs wiU be
sung by his pupil. Miss Huntley, late of the theatre Royal, Covent Garden, a young
lady, whose performance has been highly approved both in London and America.

The concert was then advertised for Oct. 17th. Mr. Taylor, in the course
of this olio, was to play, as at AnnapoUs, "several pieces on the portable
Grand Pianoforte "besides joining Miss Huntley in two sketches, ' An
Interlude, called 'The Ambitious Countryman' " and "A whimsical per-
formance called the 'FHght of Fancy' ". Raynor Taylor's vis comica which
had been a drawing card for Sadler's Wells, must have immediately found

1) Of courhe, the 'London' Bach.

— 48 —

favor with the people among whom he had cast his lot for he offered three
further entertainments of the kind. The programs were different on each
occasion. Miss Huntley was to sing "many favourite songs, in the serious,
comic and pastoral style" and for the third concert "some gentlemen, per-
formers on viohns, etc. etc." kindly offered their assistance.

In 1793 a Mr. and Mrs. Vermonnet settled at Baltimore, opening a
"Seminary for young ladies". Mr. Vermonnet apparently was not only
a dancing but also a music master by profession for he advertised a concert
at his house in Harrison Street for March 8, postponed from March 5th.
That this was intended as one of a series we are allowed to infer from the
N. B. to the announcement:

"N. B. If Mr. Vermonnet meets with encouragement from the pubUc, be proposes
giving a ball once a month, after the concerts."

Maybe Mr. Vermonnet hke other Frenchmen whom the French Revolu-
tion drove to the United States became a professional musician only by
force of circumstances. At any rate he did not hesitate to take part in a
concert held on July 22, 1793 under the direction of Messrs. G. Kalkbrenner
and W. Miller at the Exchange, for the benefit "of our distressed brethren,
the French". As the price of admission was the usual, one dollar, probably
the appeal of the managers to the "usual hberty and charity" of the ladies
and gentlemen of Baltimore drew a large audience to a concert "solely
intended for the benefit of the sons and daughters of distress".

However, the concert was postponed to July 24th for on July 231 in
the Maryland Journal the managers inserted tliis attractive announcement :

A CONCERT TO-MORROW EVENING.

The public may be assured that the greatest efforts are making to render this
entertainment grand, beyond any thing of the kind ever exhibited in Baltimore. In
particular we beg leave to mention, having engaged Miss Buron, who has been singer
to the Queen of France, and was obliged to leave that happy situation and fly to the
West Indies, in the late disturbances in France and now once more is obUged to seek
an asylum in these United States, being driven in a most distressed situation from Cape
Francois. She now offers her cordial assistance to aid the benevolent design together
with a number of respectable gentlemen amateurs, who will render this concert pleasing
and universally satisfactory . . .

Young Misses to be admitted gratis.''''

A few weeks later, on August 14th, Miss Buron appeared in a concert
for her own benefit at Grant's New Assembly Room. Mr. Richard Curson
and Mr. Buchanan managed the affair and "several gentlemen . . . pro-
mised to exert their vocal abilities at the concert". In the course of the
entertainment Miss Buron had

"The pleasure of returning thanks to the liberal inhabitants of Baltimore, for
their distinguished patronage, in an Enghsh song, composed and adapted for the oc-
casion."

— 49 —

Again the amateur-musicians came to the rescue of some unfortunate
refugees on Nov. 25 at Starck's Long Room with a concert for the benefit of
a Mr. James Vogel, "lately arrived from St. Domingo; Mr. and Mrs. De-
marque; and Mr. Beranger from Europe", The program reads:

First part

Overture Pleyel

Song Mrs. Demarque

Concerto on the violoncello Mr. Demarque

Quatuor on the clarionet Mr. Beranger

Sonata of Pleyel on the piano IVIr. Vogel

French song, accompanied on the lute jVIr. Beranger

End of the first part a Medley overture, arranged by IVIr. Reinagle.

Second part.

Symphony of Haydn

-Song IVIrs. Demarque

Concerto on the clarionet .. .. • 'Mi. Beranger

Overture d'lphigeniei) en Aulide, in quatuor for the

piano, by Pleyel Mr. Vogel

Solo on the violoncello, composed by Mr. Demarque Mr. Demarque
Overture of Pleyel, by a gentleman.

French song, accompanied on the lute Mr. Beranger

To conclude with a Grand Medley, arranged by .. Mr. Reinagle.

For the year 1794 I have been able to trace only one concert. It took

place at Grant's Assembly Room on Nov. 27th after the New Theatre had

closed its doors for the season. It was given for the benefit of a member

of the company, Mrs. Demarque, wife of the violoncelHst. The followng

program was rendered with Mr. Vogel as conductor:

First part.
1st. A grand Symphony of Pleyel, in full band.
2d. A grand Arietta, sung by a French lady.
3d. The Overture de Iphigenie, upon two forte piano, by Mr. Vogel and a

young lady about 8 years old.
4th A quartetto of Pleyel, by an amateur.
5th A Concerto on the Violincelle [ !] by Mr. De Marque.
6th A Duetto between a Forte Piano and harp, by Mr. Vogel and an amateur.

Second part.
1st. Symphony concertante of Pleyel, by two amateurs.
2d. A Concerto of Pleyel, on the Forte Piano, by Mr. Vogel.
3d. A grand Arietta, sung by a French lady.
4th A Sonata on the harp, by a French amateur.
5th A grand Overture of Haydn, for tAvo forte pianos, by Mr. Vogel and a

young lady about 8 years old.
6th The Battle of Prague 2), on the Forte Piano, by Mr. Vogel.
7th To conclude with a grand Overture of the Melomanie 3).

1) Probably by Gluck.

2) Kotzwara.

3) Opera (1781) by Stanislaus Champein (1753—1830).

Sonneck, Early Concert Life.

— 50 —

The time was now approaching when pubhc opinion in America was
equally divided for and against the terrorists of the French Revolution,
until in 1798 an extreme antipathy against things French swept over our
country owing to poUtical friction. In 1795, however, pubhc pity for the
French refugees was still very strong and such pathetic appeals as for in-
stance a Mrs. D'Hemard made when she advertised for Feb. 27th

"a small concert on the harp only, wherein she will execute several pieces of music
and particular beautiful songs, with their variations."

were bound to soften the hearts and loosen the purse strings of a public
accustomed to seeing in the newspapers side by side with Enghsh adver-
tisements such in French. The lady found herself, as she said, forced to
give a concert

"by the unhappy circumstances commoft to all the unfortunate French, to have
recurse for the means of her sustenance to a talent which, in happier times, would
have served only to embellish her education".

Because Mrs. D'Hemard was an amateur it does not follow that under
normal political conditions her concert would have been an imposition, for
we know from Burney and other sources that often the aristocratic ama-
teurs of those days could hold their own against professional virtuosos and
if Mrs. D'Hemard flattered herself in the Federal Gazette:

"to obtain the suffrages of the public, by the superiority of her talent over those
who have performed on the same instrument in this country".

this was in all probabihty true, as harpists were then none too numerous
in the United States.

As far as the musical hfe of our country was concerned, the French Re-
volution proved a blessing as besides the exiled amateurs a considerable
number of able professionals settled in our country. They broadened, as will
have been noticed, our musical horizon by acquainting Americans with
many French works in a distinctively French interpretation. In the North,
to be sure, the French element did not leave very visible traces but in Balti-
more and in the South it almost predominated for several years. Appa-
rently the intrusion of the French did not cause much professional jealousy
for, as a rule, English, German and Itahan musicians peacefully worked side
by side, and perhaps more so than to-day when our musical hfe has lost
little if anything of its cosmopohtan character. —

On July 14th, 1795 Louis Boullay, a viohnist, who had just arrived
at Baltimore gave a "grand" concert of vocal and instrumental music "the
instrumental parts to be performed by Messrs. Boullay, Demarque, Daugel
and Shetky etc.", these gentlemen evidently being the soloists. On July
15thi) Mr. Vogel, with the assistance of the "Musicians from the New Theatre,

1) Federal Intelligencer, July 14, 1795.

— 51 —

Philadelphia" gave also a "grand" concert, at Mr. Starck's with this

program :

Act first.

Grand Symphony Haydn

Sonata Piano Forte, with Scotch airs introduced Mr. Vogel

Grand Arietta de L'Amant Jaloux^), by a lady just arrived

in town.
Concerto Violoncello, composed and to be performed by .. Mr. Demarque

Imprisonment of the rulers of France Mr. Vogel

Quartetto of Pleyel, by Messrs. BouUay, Daugel, Demarque

and an amateur.

Act Second.

Grand Symphony Pleyel

Sonata on the harp, an amateur.

Grand Ariette de L'Amant Statue 2), by a French lady.

Concerto of Jarnovic for the violin Mr. Boullay

Siege of Valenciennes Mr. Vogel

Full Piece Haydn

On Dec. 4th, Mr. Marshall and Mrs. Warrell gave a concert with ball at
Mr. Bryden's Fountain Inn. Both were members of Wignell and Reinagle's
company which played a summer-season at Baltimore in 1795. To the
some company belonged the by far more famous Mrs. Oldmixon and Miss
Broadhurst who announced a joint benefit concert for Dec. 9th. Originally
the concert was to consist of both vocal and instrumental music but on
the day of performance the ladies issued through the medium of the Mary-
land Journal the statement:

"That several persons of the band which they had engaged being obhged to leave
Baltimore, some gentlemen have offered to accompany their vocal exertions, which
as far as possible they will strive to render a compensation for the instrumental music,
to be given.

CONCERT.

Part 1st.
Duet, 'Time has thinn'd my flowing hair', Miss Broadhurst and Mrs. Oldmixon.
Song, 'Tis not wealth', Miss Broadhurst.
Quartett.

Song 'Je ne scai quoi', Mrs. Oldmixon.
Duet 'Sweet content' (Dr. Arnold) Miss Broadhurst and Mrs. Oldmixon.

Part 2d.
Duet 'Turn fair Clara', Miss Broadhurst and Mrs. Oldmixon.
Song (by desire) 'Amidst illusions' Miss Broadhurst.
Sonata, Piano Forte, Mr. Vogel.

Song 'Sweet Echo', echoed by Miss Broadhurst, Mrs. Oldmixon.
Duet (by desire) 'The Way worn traveler'. Miss Broadhurst and Mrs. Old-
mixon.

*^* Two gentlemen have undertaken to regulate the ball.

1) Gretry.

2) Dalayrac.

— 52 —

On July 7, 1796 a concert was advertised in the Federal Gazette by an
Italian musician in a manner to inspire suspicion rather than confidence
in liis abihties:

TO THE LOVERS OF MUSIC.

Signor Trisobio, an Italian professor of vocal music, who had the honor to be em-
ployed three years in the Royal Chapel by the queen of Portugal and who last winter
sung in London before aU the royal family, being now in this town, where he is to stay
but for a few days, is determined to give a concert of vocal and instrumental music
on Saturday next 9th inst. Therefore he respectfully informs all the ladies and gentle-
men of Baltimore that he will execute several serious and comical Italian songs, com-
posed by himself, and other pieces, of the most celebrated Italian authors. He will
likewise sing some serious and comical French and English songs.

Between the songs, selected pieces of instrumental music will be executed by the
best performers of this towTi. INIr. Vogel will execute on the forte piano a concerto
of the famous Dussex [ !], and one of his scholars, only seven years old, will play a sonata
with two forte pianos.

Signor Trisobio hopes he will receive here the same approbation he met with in
several European cities, and he will experience the effects of that goodness which
characterizes the Americans.

The concert will be given at Mr. Bryden's Fountain Inn . . .

Soon after Signor Filippo went to Charleston, S. C. He then moved to
Philadelphia, advertised his 'Scuola del canto', struggled hard to make a
living as singing teacher and died in extreme poverty at Philadelphia in 1798.

The program of the next concert which I was able to trace at Baltimore
and which took place at the Old Theatre near the Wind Mill on July 13,
1796 was almost exclusively French in character

1st Part.
A Grand Overture of Haydn.
De la coquette volage, song, Miss Tiesseire [ !].
The Siege of Gibraltar, on the piano, with accompaniments

of violin & horn Mr. 8. Marc

Simphonie concertante of Viotti, ]\Ii's. Yanda and Cha-

teaudun.
The Grand song of Renaud I'arti) Miss Teiseire [!].
Quatuor, on the French horn, M. Chailleau.
Sot potpourri, with variations, composed by M. Chateaudun.

2d. Part.
Grand Overture of L'aleyrac 2).

A Comic song Mr. S. Marc

Grand sonata of Pleyel, on the piano Mr. Vogel

Vole a nos voix, song Miss Tieissier[!]

The little duo of French tunes, for two horns IVIr. Chailleau and

L'Arnaud

La Canzonetta Miss Teisseire [!]

To conclude with the President's March with the full band.

1) Renaud d'Ast, opera by Dalayrac.

2) Of course Nicolas d'Alayrac (Dalayrac) 1753 — 1809 is meant.

— 53 —

In June 1796, J. H. Schmidt "formerly organist to the cathedral of
Schiedam in Holland" arrived in town from Charleston as teacher of music
"on the various keyed instruments and the refined art of singing and ac-
companying songs". His ambition was to show his "abiUties, poUteness
and patience, which are so necessary for a good teacher" and to "produce
patent pianos superior to any in this place". Unfortunately just then
Charleston was visited by a conflagration and Mr. Schmidt's superior patent
pianos were mostly destroyed before they could be shipped to Baltimore.
To alleviate his misfortunes Mr. Schmidt decided to test the "well known
generosity of the inhabitants of Baltimore" by a concert on August 11 at
Bryden's Fountain Inn where "he engaged the upper long room which is
very airy and pleasant". After having received promise of assistance of
some of the gentlemen musicians of the New Theatre and others, Mr. Schmidt
advertised the program of the first act "The exact arrangement of the
whole [to] be given in Thursday's papers". On Monday Aug. 8th the first
act of the concert, which was postponed to Aug. 16th, consisted of a

Grand simpliony from Giernowycke [ !].

Song from Handel's Messiah on two new piano fortes of Hanston.

A Duo by Messrs. Schmidt and S. Marc.

Concerto on the violoncello.

Simphony of Pleyel.

The last concert in 1796 that came to my notice took place at Gray's
Gardens, a fashionable summer resort, on Sept. 12th. Though the program
of this "grand medley concert" as printed in the Federal Gazette, promised
a plentiful musical menu, the N. B.'s in the advertisements will probably
attract as much attention as the names of Haydn, Bach, Wanhal, Pleyel,
Kotzeluch, Rosetti, played "by the performers and band of the New
theatre".

Part the First.

Overture Haydn

Song 'And all for my pretty Brunette' Mr. Darley, jun.

Symphony Pleyel

Song 'I can't for I'm in haste' Mrs. Warrell

Overture Bach

Song 'Oh, none can love like an Irish man' .. .. Mr. Marshall

Symphony Vanhall

Song 'The General Lover' Mr. Darley

Concerto on the clarinet Mr. Wolfe

Comic song 'Courtship and matrimony' Mr. Bates

Overture Kozluck

A Favorite Scotch ballad Mrs. Marshall

The President's March.

— 54 —

Part the Second.
Irish song 'Oh dear, what can the matter be' .. Mr. Marshall

Symphony Rosette

A Hunting song Mr. Darley

Neighbor Sly Mr. Bates

Song 'Absence thou foe to love' IVIrs. Warrell

Glee 'How merrily we Uve' Mr. Marshall, Mr. Darley

and Mrs. Warrell
Catch — the cries of Durham.
The Marseilles Hymn.
Leader of the band, Mr. Gillinghami.

The Gardens to open at five o'clock and the performance to com-
mence precisely at 6.

A handsome collation will be provided. Admittance half a dollar.

N. B. To prevent inconvenience and imposition, Mr. Gray requests
the pubhc to take notice that all waiters who are employed by him, in the
service of that evening wiU wear numbers, to distinguish them.

Ladies and gentlemen desirous of obtaining particular rooms, boxes or
situations in the gardens are requested to send their servants in time to
ascertain them.

A number of constables will attend to preserve order.

Taking the fact that I have been unable to trace any as a criterion^)^

not many concerts were held during 1797 and also the remaining years of

the century show a decided stagnation in the concert life of Baltimore though

on the other hand the well supplied music stores of Joseph Carr and R. Shaw

did much to acquaint the music lovers of the city with the current repertory.

The first concert mentioned during 1798 brought the harpist Mrs. D'Hemard

before the pubhc with her daughter as star-attraction.

"Little Marianne, aged 6 years, who lately returned from Philadelphia, where
she has given a Concert which excited the admiration of her hearers, so much so that
she was looked upon as a phenomenon".

had occasion to show her "astonishing musical powers" at Bryden's Foun-
tain Inn on May 4th in this following program:

1. Overture of Blaise and Babet^) on the pianoforte, by Miss Marianne

2. A Sonata followed by a Medley on the harp, by .. .. IVIrs. D'Hemard

3. The Battle of Prague*) and the Cottage maid, executed

and sung, accompanied by the piano, by Miss Marianne

4. A Duo of the harp and piano, by .. IVIrs. D'Hemard and Miss Marianne

1) George Gillingham, who had played in the orchestra at the Haendel Comme-
moration of 1784 was from all accounts a very able violinist. His career as leader
extended far into the nineteenth century. A picture representing him in this capacity
at the Park theatre, New York in 1827 is preserved at the New York Historical Society.

2) Messrs. Chalmers and Williamson presented their 'Tablet, or Just in time, rea-
dings, recitatives and songs' with which we are already familiar, in December. Besides
songs these entertainments contained sonatas and overtures played on the pianoforte
by Mr. Carr, jun.

3) Dezede.

4) Kotzwara's insipid piece enjoyed an unrivalled popularity until about 1850.
It was cast aside in favor of 'the Maiden's Prayer'.

— 55 —

5. The variations on the harp.

6. An English and French air song, accompanied by the

piano, by Miss Marianne

7. A great Sonata of Pleyel on the piano, followed by 'the

Little Sailor Boy, sung and accompanied on the piano,

by IMiss Marianne

8. By the same, several entertaining variations of Pleyel

and Haydn.
The concert will terminate by a ball.

A "whimsical entertainment" called "Fashionable variety with a Touch
at the times consisting of various descriptions, recitations, comic songs etc."
— evidently on the order of a revue — which the actor Mr. Bates gave on
May 8th may be mentioned in tliis connection as it helped to spread the
popularity of

"a new patriotic song, called Hail Columbia, accompanied with the President's
March, as now singing with unbounded applause at the theatre, Philadelphia."

A few weeks later, on June 20th, Mrs. Oldmixon, not being booked for a
performance at the theatre, gave a concert with readings at Bryden's Foun-
tain Inn assisted by her collegue Mr. Harwood and Mr. Menel of the theatre
orchestra. The character of the entertainment may be inferred from the
program of a similar "grand concert of vocal and instrumental music in
three acts interspersed with readings and recitations, serious and comic"
as it took place "by authority" at the New Theatre on June 26th:

Act I.
An occasional Address.

Overture Hayden

Song ]\Ir. Marshall

Recitation 'The Water Bottle, or a Cure for a scold',

a comic tale Mr. Bernard

Song Mrs. Warell

Concerto on the viohn ]VIr. Gillingham

Act II.

Glee 'How merrily we live that soldiers be'.. .. Mr. Marshall, IVIr. Gilling-
ham, Mrs. Stuart, Mr.
Shaw, Mrs. IMarshall
and Mrs. Warrell

Comic Reading 'The story of Johnny Gilpin'.. .. Mr. Harwood

Grand symphony

Favorite Scot's ballad 'Auld Robin Gray' .. .. Mrs. Marshall

Concerto on the violoncello Mr. Menel

Comic catch 'the Cries of Durham'

Act III.
Introductory symphony
Serious Reading 'A Monody on the death of the late

favorite and much lamented performer, by .. Mr. Wignell.-

— 56 —

Glee 'Wind gentle ever-green'

Comic song 'this life

is like a country dance' Mr. Bernard

Catch. 'New patriotic Roundelay' and chorus .. Mr. Marshall, Mr. Hardinge

Mr. Fox etc.

This was a limited concert as^ in order to prevent inconveniences from
the heat, the number of tickets was hmited "on which account no person
can be admitted without a ticket", a restriction easily explained if it be
remembered that during the eighteenth century influential and popular
gentlemen had access to the stage very much hke Caucasian visitors have
to-day to the Chinese Theatres in San Francisco. Though the Federal
Gazette had advertised this grand concert "for one night only", apparently
the demand for tickets was so great and the Hmited audience so well pleased
that a "positively last night", entirely varied from the first, was given on
June 28th under the title of "a grand musical selection". Dibdin's most
popular songs were the feature and by desire a duet of Giornovichi
on the violin and violoncello was performed by Mr. Gillingham and Mr.
Menel.

As a 'Musical Society' existed at Baltimore in 1799, advertisements to
the effect appearing in the papers, it may be surmised that it gave concerts,
but, to my knowledge, they were not announced pubhcly. I found only
two concerts advertised in the Federal Gazette for this year. The first, on
the order of those of 1798, took place at the New Theatre on Jan. 22d for
the benefit of the band. Though the program contained nothing of unusual
interest, it is characteristic enough to follow here as a matter of historical
record :

Act 1st.

Grand overture Haydn

Song Mr. Marshall

Trio (Wranizky) Mr. Hupfeldt

Song Daugel and Shetky

Sonata, Grand Piano Forte Mr. Reinagle

Song IVIrs. Marshall

Concerto Clarinet Mr. Wolfe

Act 2d.

Song Mr. Fox.

Quintetto (Pleyel) Messrs. Gillingham, Hupfeldt,

Daugel, Brooke, and Shetky

Song !Mrs. Warrell

Rondo, Clarinet (Michel) Mr. Wolfe

Reading 'Monsieur Tonson' Mr. Harwood

Concerto, Violin Mr. Gillingham

Full piece (Gerowetz)

The other concert was held at Bryden's Fountain Inn on April 26th for
the benefit of Messrs. Dubois and Wolfe who presented these selections:

— 57 —

First Part.
Overture to Henry to IVth or Bataille d'lvry .. Gretryi)
Medley Trio, for a clarinet, violin, and lute .. .. Messrs. Wolfe, Daugel

and Dubois.
Sinfonia concertante for two clarinets, Messrs. Dubois

and Wolfe Pleyel

Rondo and March, to Henry IVth Gretry

Second Part.

Sinfonie Haydn

Quintetto (principal part by Mr. Hupfield) Pleyel

Medley, familiar airs on the Piano Forte ]\Ir. Vogel

Concerto, Clarinet, Mr. Dubois Michel

Merely mentioning the open air concerts in 1800 of the rival "gardens"
of M. De Loiibert and Mr. Mang, the latter known as Chatsworth Gardens 2),
this chapter on concerts in the South may be brought to an end vnih a
few necessarily brief references to concerts outside of Charleston, AnnapoHs
and Baltimore.

Whereas in the other Colonies, New England excepted, high-Me was
centrahzed in one city, Virginia could boast of several towns of almost
equal importance and equal social attractions: WilUamsburg, Richmond,
Fredericksburg, Alexandria, to which may be added Norfolk and Peters-
burg. To these small but gay places the planters, with or ^vithout their
ladies, would go to transact business, to attend the races, to frequent the
theatres and dancing assembhes, in short to bring some variety into their
by no means dull life on the plantations. Williamsburg seems to have
been the center of attraction until after the war when the state house was
removed to Richmond. This change in general conditions had its effect
also on the musical life of Williamsburg, primitive though it was. Whereas
concerts are not easily traced after the war, a few are on record for previous
years. George Washington, for instance, entered in his ledger for April 2,
1765:

"By my Exps to hear the Armonica 3. 9".

and under April 10, 1767 "Ticket for the Concert" 3). I have been unable
to ascertain by whom these concerts were given. Perhaps by Francis Al-
berti whom we shall meet again in the next chapter and who, as he sold
the tickets, seems to have been connected mth a concert of instrumental

1) Sic, though the opera was by Martini.

2) As Mr. DeLoubert had succeeded in procuring "the band of instrumental music,
under the direction of Mr. Wormrath" previously engaged for Chatsworth Gardens
Mr. Mang found himself obliged to advertise in the Federal Gazette June 4th that
"any person capable of furnishing and leading a band, is invited to make an engage-
ment for himself and other performers".

3) See Paul Leicester Ford's monograph on 'Washington and the Theatre' (Dun-
lap Soc. Publ. 1899).

— 58 —

music, given on May 19, 1769 at Hanovertown near Williamsburg at Mr.
Tinsley's. The concert was to "consist of various instruments, by gentlemen
of note, for their own amusement". It was requested in the Virginia Ga-
zette, May 11 "by the ladies that the company may be governed by
a becoming silence and decorum". A ball, "if agreeable to the company",
the if being quite superfluous, was to follow.

The earhest allusion to concerts at Fredericksburg I have found is con-
tained in a card in the Virginia Gazette, Richmond, Jan. 10, 1784. It was
directed "to all lovers of music, vocal and instrumental, in Virginia or else-
where" by the Harmonic Society of the town of Fredericksburg. This
society apparently gave concerts at the Concert Room in the Market House
on "the third Wednesday evening in each month" and was "peculiarly
intended for benevolent purposes". Tickets for those who were neither
members nor performers cost one dollar each and "the music of the evening
always [consisted] of three acts, which affords a grand entertainment of
four hours" ! The society earnestly required the attendance of all gentlemen
in the country who were performers on instruments, or who had valuable
collections of music.

Though presumably occasional concerts were given in the meantime,
I found none advertised until May 6, 1790 when the Virginia Herald inserted
the following characteristic advertisement:

A Concert, Vocal and Instrumental (For the benefit of Mr. KuUin) to be held at
Mr. Brownslow's brick building, formerly the stage office, in Fredericksburg, on Monday,
the 10th of May, 1790. When will be performed, some of the best pieces of the most
famous composers, in the execution of which several gentlemen of this place have
offered their kind assistance.

]\Ir. Kullin will perform on the harpsichord, as also on a Piano Forte organized,
just arrived in this town, which, by its excellence, far surpasses any key'd instrument
ever seen here. Mr. Victor will also perform a solo on said instrument with accom-
panyment for the violin. Some of the new compositions for two performers on one
harpsichord, wiU, in the course of the evening, be executed by Mr. Kullin and Mr.
Victor. 1)

In the following year on Oct. 12th a concert with ball was held at Mrs.
Hackley's under the direction of Mr. Emanuel. As the pieces to be per-
formed were to be expressed in the bills, we are at a loss to ascertain the
program unless it is preserved among the papers of some old Virginian fa-
mily. On Nov. 4, 1797 a prodigy, already known to us, "proposed" for the
same evening a concert at Mrs. Gatewood's Concert Room with the assistance
of several gentlemen of Fredericksburg: poor httle "Miss" Marianne D'He-
mard, "only five years old, 8 months from Paris". Just on a visit to this

1) John Victor, teacher on the harpsichord,] pianoforte, spinet and guitar, tuner
and repairer moved from Port Royal to Fredericksburg in April 1789.

— 59 —

place from a triumphal tournee to Philadelphia, Baltimore, Alexandria and

Richmond she showed her precocious talents

"in the Battle of Prague — Nicolai's Favorite Sonata opera 3d — Several pieces by
Pleyel — Overture de Iphigenie, par Mr. Edelman, with a number of other pieces which
have been the play things of the last six months of her Ufe."

But Marianne was not the only child whose musical talents in those
days were forced to alleviate the distressed circumstances of her parents.
We remember the children of Mr. Salter playing for the benefit of their
half blind father at Charleston and the same "musical family" endeavoured to
entertain the" humane and friendly" of Fredericksburg with a "pleasing,
innocent and scientific species of amusement" on May 10th, 1800.

Of concerts given at Petersburg I have been able to trace only the one
for the benefit of Mrs. Sully and Mrs. Pick, advertised in the Virginia Ga-
zette and Petersburg Intelhgencer for June 25, 1795. As these musicians
were not assisted by an orchestra their program necessarily partook of the
character of the average benefit recital to which we have nowadays be-
come accustomed.

Part 1.

A Grand Sonata of Pleyel's on the Piano Forte, accompanied on the violin —

By Mrs. Sully and Mr. Pick.
A Favourite Song '^^^lither my love' — By ^Irs. Pick
A Favourite Scotch Reel, with variations — By Mrs. Sully.
The Favourite Duett of 'the Way worn traveller' — By Mr. and Mrs. Pick.
A Grand Sonata of Steibelt's, to conclude with the favorite Air of 'The Rose Tree'

with variations — By ]\Irs. Sully.
The Marseilles Hymn, in English — By Mrs. Pick.

Pabt 2.

A Grand Sonata of dementi's on the Piano Forte, accompanied on the violin —

By IMrs. Sully and Mr. Pick.
A French Song — By Mr. Pick.
The Favourite Air of Lira Lira, with variations, from the Surrender of Calaisi), —

By Mrs. Sully,
An Italian Duet, sung by Mrs. Sully and Mr. Pick
The Favourite Air of Moggy Lauder, with variations on the Piano Forte — By

Mrs. Sully.
The Hunting Song of Tally Ho! — By Mr. Pick.
Sonata on the Italian Harmonica, with several known airs.
To begin precisely at 7 o'clock. Tickets at 6 s. each . . .

It is safe to say that, whenever and wherever during the last quarter
of the eighteenth century concerts of any importance were given in the
small towns they generally were due to the enterprise of the musical
members of theatrical companies just then performing at these places.
This is also true of the several concerts held at Norfolk, Va. in 1796 and

1) Arnold.

— 60 —

1797. The programs may follow here as advertised in the American Ga-
zette and in the Norfolk Herald. For October 7th, 1796 Messrs. Decker
and Graupner announced a benefit concert to "their friends in Norfolk and
Portsmouth" with these selections:

Part i.

A Grand Overture Stamitz

A Favorite Song 'The Poor little Negro' by Mr. Prigmore.

A Sonata on the Pianoforte, by Mr. Letuz.

Sweet Nightingale, by ]\Irs. Graupner, accompanied by Mr. Graupner

on the hautboy
A Violin Duet (Pleyel) by Messrs. Decker and Graupner
Finale Le Due

Paet II.
Concerto on the hautboy, by Mr. Graupner.
Bright Chanticler, a favorite Hunting Song, by Mr. Prigmore.
A French Song, by Mons. Douvillier.

(By desire) Fisher's Rondo with variations on the hautboy, by Mr. Graupner.
A Favorite Song by Mrs. Graupner.

What is Love? a favorite Duet, by Mrs. Graupner and Mr. Prigmore
The Concert to conclude with the Federal Overture i).

To which will be added a Musical Entertainment, in two acts, called The Wedding
Ring (not performed here these four years) . . .

On April 13, 1797 was performed at the Theatre

" . . .a selection of Sacred Music from the oratorio of the Messiah, etc. Composed
by G. H. [!] Handel, under the direction of Mr. Shaw.

Vocal Perfoemers.
Mr. Bartlett — Mr. Shaw — Mr. Robbins — Mrs. Decker — Mrs. Shaw.

Instrumental Performers.
Mr. Decker — Mr. Duval — Davezuc — Mr. D. Mard — Mr. Shaw — Mr. Robbins
— and Mr. Letuz.

Two days later a "Divine Concert of vocal and instrumental music"
was held at the Town Hall at which "the best performers in Norfolk" were
to assist. The advertisement continues:

Several Sacred Hymns, Psalms, Songs, Trios and Quartets, will be sung by the
French ladies and gentlemen who performed at the last concert.

A variety of fine pieces of music from the best composers will be played on the
Forte Piano, Harp, Flute, Hautboy and Viohn.

The Stabat from the music of the celebrated Italian composer Jacchiny 2) will be
sung in latin by three or four voices. To conclude with the Sacred Glee of o Filii, 6
Filiae; & Hallelugha [!] on the harp, bass and violin, sung in latin by four voices.

Owing to the inclemency of weather, this concert which seems to have
been given in competition with the one of April 13th, was put off until

1) A very popular piece composed by Benjamin Carr of Philadelphia.

2) Evidently misprint for Sacchini.

— 61 —

April 20th. On April ITth, the Norfolk Herald printed the full program,
certainly an odd one.

First Part.

Overture. Gearnovicks Concertante.

Stabat, etc., a latin anthem. Music of the celebrated Sacchiny, by three voices.

French Air and Duet, music of the same.

Pot-pourri of Marshal, on the Forte Piano.

Sacred French Hymn, music by le Moine, by three voices.

Quartetto on the German flute, or hautboy.

French Air, music of Sacchini

Quartett of voices. Music of the same.

Second Part.

Overture from La Rosiere, music of Gretry

'The Nightingale in the Grove', a favorite French song, music of the same.

The Battle of Prague on the Forte Piano.

Duet of Voices, music of Gretry.

French Air. Music of Piccini

Concerto on the violin, by Mr. Duval

French Song, accompanied by the harp.

To conclude with the Sacred Glee of 6 Fihi, 6 Filiae, & Hallelugah.

Of the concerts given at Richmond i), a few, beginning with the year
1795, came to my notice. The first, a so called "grand" concert and ball
was held on July 2d at the Eagle Tavern by Mrs. Sully & Mrs. Pick of the
theatrical company just then performing there and who apparently formed
a sort of travelling team in this year. The program, as announced in the
Richmond and Manchester Advertiser was the same as performed at Peters-
burg on June 25th. On Feb. 17, 1797 the Virginia Argus printed proposals
for a concert by subscription under the direction of R. Shaw, of the orchestra
belonging to Wignell & Reinagle's company. Shaw, who shortly afterwards
opened a music store at Baltimore seems to have been opposed to idleness
for wherever the fortunes of the company carried him, he filled his leisure
hours with music lessons. He also fully understood the advantages of
advance-notices as he took occasion to remark in his proposals that

the greater part of the performers being at present in Petersburg, such persons
as are desirous of promoting the concert, are requested to subscribe previous to Thurs-
day evening the 23d inst. at which time the concert will be advertised, if a sufficient
number of subscriptions are received to defray the expences — if not, the money will
be returned to those who may have subscribed.

Sufficient subscriptions having been received, R. Shaw gave the concert
on March 1st at the Eagle Tavern with a program remarkable for the
unusually careful distinction between performers and composers:

1) Population: 1790—3761; 1800—5737 inhabitants.

— 62 —

Part i.
Overture

Song 'Primroses deck the bank's green side, by Mr. Bartlett Linley

Sonata on the Grand Piano Forte, by Mr. Frobel .. .. Pleyel

Song, 'Amidst the iUusions', by Mrs. Shaw Shield

Concerto, German flute, by Mr. Shaw Devienne

Song, 'Twins of Latona', by Mr. Robins Shield

Part ii.

Song, 'Love sounds an alarm', by Mr. Bartlett Handel

Quartetto, oboe, violin, viola & bass Back

Song 'Loose were her tresses' by Mrs. Shaw Giordani

Glee, 'Sigh no more ladies', by Messrs. Bartlett, Robins, Shaw, and Mrs. Shaw.
Sjinphony — Finale.

Between the first and second parts, the facetious history of John Gilpin will
be recited by Mr. Green.

Then on April 26, 1800 we again run across unfortunate Mr. Salter and
his still more unfortunate children. The program, as printed in the Virginia
Federahst, April 26th does not contribute anything to our knowledge of
what was played in the United States of the 18th century and may be dis-
missed with the remark that the children played sonatas, airs, variations
and so forth and sang songs in "character", for instance Master Salter one
"in the character of an American sailor".

Concerts were also given at Alexandria, in those years, which practically

means Washington^). One, advertised for April 30, 1793 "for the benefit

of an unfortunate emigrant" was postponed to May 1st and again to May 4th.

It must have been a very primitive affair to judge from a naive passus in

the advertisement in the Columbian Mirror, May 1st:

"By this unexpected delay, however, a considerable acquisition will be made
to the music — the addition of a Thorough Bass upon the harpsichord, which will
be performed by a lady, will render the entertainment much more pleasing and satis-
factory, than anything of the kind heretofore experienced in this town."

Another quaint glimpse into by -gone times when the enjoyment of con-
certs was not facilitated for Alexandrians by street cars, is afforded by a
notice in the Columbian Mirror on the day of performance:

"For the convenience of the ladies who mean to attend the concert this evening,
a carriage is provided for their conveyance, going and returning; applications to be
made to Mr. Jesse Simms — the Concert will not begin until the carriage is unemployed."

On June 27, 1795, at Mr. Abert's Koom, postponed from June 25th,
Mrs. D'Hemard entertained Alexandria on the pedal harp with sonatas,
concertos, favorite airs with variations and songs accompanied by the harp.
This concert enables us to form the acquaintance of a gentleman who appa-
rently was considered a musical authority in Alexandria: EHsha C. Dick.
Over his signature appeared this remarkable testimonial in the Columbian
Mirror of June 23d:

1) The population of Washington in 1800 was 3210 inhabitants.

— 63 —

"I have heard Mrs. D'Hemard perform upon the harp, and presuming my
testimony may, in some degree, contribute to promote the object of this lady, on
the present occasion, I can venture to predict that the expectations of those who shall
attend her performance will not be disappointed. — Mrs. D'Hemard's judgement,
taste and execution upon the pedal harp are not, in my opinion, to be surpassed by
any one."

It seems that others concurred in this opinion for Mrs. D'Hemard saw
herself obhged to repeat her performance, "the last time of playing" taking
place on July 7th.

On July 16th, Mrs. Sully and Mrs. Pick appeared in a concert the pro-
gram of which was the same as in their entertainment at Richmond on
July 2d and at Petersburg on June 25th, the fourth number only in both
acts being changed to a song by Giordani, respectively the popular song
'Cottage Maid'. In the following year, on May 10th, a concert of vocal and
instrumental music at the Presbyterian Church was advertised under the
heading Sacred Harmony. The pieces were selected from Haendel, Ad-
dison, Madan, Alcock, Reed, BilUngs and others. As the psalmodist Alexan-
der Rhea was connected with the church, presumably he gave the concert.
In 1797, on Oct. 14th, Mrs. D'Hemard reappeared with her daughter "five
years old". The program contained Marianne's repertory as executed in
other towns which certainly was astonishing enough no matter how childish
the performance must have been.

Merely mentioning a song recital interspersed with recitations offered
to the pubhc of Alexandria by Mrs. Oldmixon on June 28, 1798 I conclude
the chapter on concerts in the South with three references which prove,
at least, that Savannah, Ga. was not without concerts in the eighteenth
century. Because only three concerts were traced by me, it should not be
inferred that the musical life of Savannah was less developed than that of
other Southern cities. The explanation of this scarcity of data is easy.
The file of the Georgia Gazette at the Massachusetts Historical Society
fully covers the years (April) 1763 to (May) 1770 but the last thirty years
of the century are represented by a few stray numbers only at Harvard
University and I was not able to extend my historical expedition as far
South as Savannah, where a perusal of fuller files certainly would enable
the student to prove that Savannah was just as musical as her rival cities
of equal size: 5166 inhabitants in 1800.

Presumably the first advertisement of a concert at Savannah occurred
in the Georgia Gazette, May 21, 1766 in the following form:

"For the benefit of Mr. John Stevens, junior, on Wednesday the 4th June next,
being his Majesty's birthday, will be performed, at Mr. Lyon's Long Room in
Savannah.

A Concert of Musik. After the concert musick wiU be provided for a ball
Tea, Caffee, cards, etc. etc.

— 64 —

Thirty years later, on Sept. 15, 1796 a "grand" concert was given at
the Filature. This was preceded by a concert on August 19, 1796 at the
Assembly Room thus pohtely advertised in the Georgia Gazette Aug. 18th:

J. West's highest respects wait on the ladies and gentlemen of Savannah and
its environs and humbly soUicits their patronage on this occasion and assures them
nothing shall be wanting on his part to render this evening's entertainment worthy
their attention.

Act I.

Symphonie Bach

Song Mr. J. West

Song Mr. Sully

Song Mr. Nelson

Hornpipe Master Duport

Song Mr. J. West

La Fille a Simonette, composed (with variations) by Mr.
Daguetty for two violins and bassoon, by Messrs. Daguetty,
Duport and Brunette.

Act II.
The Anacreontic Song, consisting of songs, catches and glees

Anacreontic Song Mr. J. West

Duetto, 'Time has not thinn'd my flowing hair'

Glee 'Drink to me only with thine eyes'

Catch 'Poor Thomas Day'

Duetto 'With my jug in one hand'

Duetto 'From night till morn'

Song, Mr. Sully, America, Commerce and Freedom

Act III.

Symphonic

Song Mr. Nelson

Concerto on the violin Master Duport

Song Mr. J. West

French Dance Master Duport

Song Mr. J. West

Glee Mr. Nelson, Mr. West and Mrs. West.

Grand Symphonie.

Probably data on early concerts at so musical a city like New Orleans
would be welcome but I have been unable to ascertain such. Still, as Grace
King says in her book on New Orleans (1895) that in 1791 among the first
refugees from St. Domingo came a company of French comedians who hired
a hall and gave regular performances for twenty years including opera and
ballet, it goes without saying that concerts were not missing. Should a
half-way complete file of Le Moniteur de la Louisianne, founded in 1794,
be discovered, it would be easy enough to trace the beginnings of a concert
life at New Orleans. However, too much should not be expected, as the
city contained in 1800 only 8000 inhabitants, negroes included!

PHILADELPHIA 0.

GOTTLIEB MITTELBERGER in his 'Reise nach Pennsylvanien im
Jahre 1750 und Riickreise nach Teutschland im Jahr 1754' (Stutt-
gart, 1756) says on p. 104:

Zu Zeiten fiihren einige Engellander in Privat Hausern ein Concert auf dem Spinnet
oder Klavicymbel auf.

Pubhc concerts he does not mention, nor have I been able to trace such
at Philadelphia before 1757 though the files of the American Weekly Mer-
cury, the Pennsylvania Gazette and later weeklies are fairly complete from
1719 on. Granted that the Philadelphians, and especially the Quakers,
were more incUned to reject worldly amusements than the Southerners
and even the Puritans of New England, yet they were human and an
atmosphere of refinement and culture pervaded Philadelphia . The fact,
therefore, that in Charleston, New York and Boston concerts can be traced
long before 1757 renders the introduction of concerts at Philadelphia at so
late a date doubtful, not to say, incredible.

However, on Jan. 20, 1757 the Pennsylvania Gazette notified the pu-
blic that

"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 ; 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."

A second concert was announced for March 25th in the Pennsylvania
Journal, March 24th. Though the Journal did not mention the musician
for whose benefit the concert was given, we are able to trace him in a source
which will appeal to all good Americans : George Washington's ledger. The
father of our country made this entry in 1757:

"March 17th. By Mr. Palmas Tickets 52 S 6."

This was presumably the first, though by no means the last, concert
attended by George Washington!

1) Population: 1731—12000; 1790—42 520; 1800—69 403 inhabitants.
Sonne ck, Early Concert Lite. 5

— 66 —

By contrasting musical events at Philadelphia before 1750 and after,
I believe to have proved in my monograph on Francis Hopkinsoni) that
the musical hfe of Philadelphia suddenly began to develop with surprising
speed. Music began to play a prominent part at Commencement and an
Orpheus Club, evidently a musical society, is said to have existed as early
as 1759. Music was cultivated more and more in the homes of the people,
church music improved visibly, and English opera found a firm footing
at Philadelphia through the medium of the (Old) American Company of
Comedians. But, for some reason or the other, the concert hfe did not
progress so rapidly. May be the musical gatherings at the homes of John
Penn, Dr. Kuhn or Francis Hopkinson absorbed the interest of the amateurs.
At any rate, pubUc or half-pubUc concerts remained comparatively few
before the war, if we are allowed to trust the newspaper announcements.
For instance, between 1757 and 1764 I have not found a single one adver-
tised. Then, however, Francis Hopkinson and James Bremner and a few
years later Giovanni Gualdo improved conditions energetically with the
assistance of such amateurs as just mentioned and those musicians who had
settled at Philadelphia.

When the subscriptions for the organ at St. Peter's Church had proved
insufficient "for compleating the design" a concert was advertised for this
purpose under the direction of James Bremner^). It was to take place at
the Assembly Room in Lodge Alley on Feb. 21, 1764 and was the first concert
I came across after the one given by John Palma in 1757 on whom George
Washington spent the considerable amount of 52 Sh. 6. In the following
year, on April 10th, Bremner arranged and conducted an entertainment
which speaks well for his abilities and the standard of taste prevaihng at
Philadelphia.

1) 'Francis Hopkinson and James Lj^on. Two Studies in Early American Music',
Washington, D. C, 1905. In this work I have fully described the concert life at Phila-
delphia from 1760 to 1770 and therefore see myself compelled to indulge in self-quo-
tation.

2) James Bremner, a relative of Robert Bremner, the Scotch music publisher,
composer and editor, came to Philadelphia in 1763. In December of this year he opened
a "music school . . at Mr. Glover Hunt's near the Coffee House in Market Street"
where he tavght "young ladies . . . the harpsichord, or guitar" and "young gentlemen
. . . the viohn, German flute, harpsichord, or guitar". Bremner possibly became or-
ganist at St. Peter's in 1763 but all we know for certain is that he held a similar posi-
tion at Christ Church in 1767 and that he is spoken of in the vestry minutes in Dec.
1770 as "the late organist". After an absence of several years he is again spoken of
(in the diary of James AUen) as organist of Christ Church in 1774. He died near or
at Philadelphia "on the banks of the Schuylkill" in Sept. 1780. The most prominent
of his pupils seems to have been Francis Hopkinson who possessed several composi-
tions of his teacher. Those still extant are a 'Trumpet air' a 'Lesson', a 'March', 'Lady
Coventry's minuet with variations', all for the harpsichord. He was also the author
of 'Instructions for the sticcado pastorale, with a collection of airs', London, n. d.
(Mentioned by Fetis).

— 67 —

The tenor of the advertisement is so interesting as to deserve to be
copied in full. It appeared thus in the Pa. Gaz. on April 4, 1765:

College of Philadelphia, April 4, 1765.

For the Benefit of the Boys and Girls Charity School.

On Wednesday Evening next there will be a Performance of Solemn Music, vocal
and instrumental, in the College Hall, under the Direction of ]Mr. Bremner. The vocal
Parts, chiefly by young Gentlemen educated in this Seminary, and the Words suited
to the Place and Occasion, being paraphrased from the Prophets, and other Places
of Scripture, upon the Plan of the musical performances in Cathedral's, etc. for public
charities in England.

The Chorus and other sublime Passages of the Music will be accompanied by the
Organ, and the Intervals filled up with a few Orations by some of the Students.

It is hoped that the Merit of the Performance as well as the Nature of the Charity,
by which several Hundreds of destitute Youths for more than 15 years past, have at
a great Expense received the Benefits of Education, and been rendered useful to the
Community, will entitle this Design to a general Countenance.

The Hall will be properly illuminated and the Music so disposed, that the Galleries
and the Body of the House will be equally advantageous for hearing. The Performance
will begin precisely at Six o'Clock, and there will be no Admittance but by Ticket,
and through the great South Door, which will be opened at Five. Any Persons desiring
a printed Copy of the Words to be sung, may have the same gratis, on DeUvery of their
Tickets at the Door, and Care will be taken that the greatest Order be preserved.

Tickets, at one Dollar each, to be had of Mr. Kinnersly, Mr. Bremner, and Mr.
Bradford, or by sending to any of the Trustees or Masters.

On April 18 the Pa. Gaz. reported that:

The whole was conducted with great Order and Decorum, to the Satisfaction of a
polite and numerous Audience. Thirty Pounds was raised for the Benefit of the Charity
Schools belonging to the said College.

The Persons who so desired received a printed copy of

The Plan of a Performance of Solemn Musick;
to be in the Hall of the College of Philadelphia, on W^ednesday Evening April
10th, 1765, for the Benefit of the Charity School.

ORATION.
Act I.
Overture, Stamitz.
Air. Prov. iii. from ver. 13 to 17, and iv, 8
Richer far is Wisdom's Store,
Than from Mines of Gold can flow;
Brighter is her heavenly Lore,
Than the Ruby's proudest Glow.
Thrice happy he, whose yovithful Mind
Seeks in her Courts his joyful find!

Her right Hand gives length of Days,
Honour in her Left she bears;
Pleasure waits on all her Ways
Peace in all her paths appears.
Around their Brows, who her embrace,
Her Hand a Wreathe divine shall place.
Sixth Concerto, Geminiani.

— 68 —

ORATION.
Act II.
Solo, on the Violin
Overture, Earl of Kelly
Air. Isaiah Iv. 1. 2. John vii. 12
Parted from celestial Truth,
Science is but empty show;
Come to God in early youth;
Where the living Fountains flow!

Come and drink the waters free;
Why in fruitless Searches toil?
Wisdom's ever-blooming Tree
Loves to Spread in Virtue's Soil.

Second Overture, Martini

ORATION.

Act III.

Overture in Artaxerxes; Arne.

Sonata on the Harpsichord.

Chorus Ps. XLVI. from ver. I to 5.

God is King! from Day to Day,
Let each tongue his Praise resound;

To each Land his Fame convey,

Tell it to the Heathen round

II.

Tell them; from those Gods to fly.
By their erring Lips ador'd. .
He who made yon radiant Sky,
Thron'd in Glory, is the Lord.
Hallelujahl Let us sing:
God made the Skies; is King!i)

In the meantime, an effort had been made to introduce subscription

concerts at Philadelphia. On January 12, 1764 the Pa. Gaz. printed the

following advertisement :

Philadelphia, January 12, 1764.

On Thursday, the 19th instant, at the Assembly Room in Lodge Alley, will be
performed a Concert of Musick, to be continued every Thursday, tiU 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. Subscriptions are taken in at Messrs. Rivington and Brown's
Store, and by Mr. Bremner, at Mr. Glover Hunt's, in Market street, near the London
Coffee House.

N. B. The Concert to begin precisely at 6 o'clock.

Unless James Bremner arranged these fortnightly subscription concerts
the supposition is not unreasonable that Francis Hopldnson was the moving

1) Copied from a copy at the Library Co. of Philadelphia.

— 69 —

spirit of the enterprise. I base this on a letter which he wrote to his mother
from Dubhn on July 12, 1766. He said therein, when mentioning that he
met a Mr. Flanagan: "he used to come sometimes to my concerts". At
any rate it is safe to say that Hopkinson was connected with the Subscription
Concert, if not as founder or manager at least as subscriber and performer.
It seems to have met with the favor of the subscribers, for a second
season was thus advertised in the Pa. Journal on Nov. 1, 1764:

Subscription Concert, at the Assembly Room in Lodge Alley, begins on Thurs-
day the 8th day of November next and to continue every other Thursday 'till the 14th
of March following.

Each subscriber on paying Three Pounds to be intituled to two Ladies tickets
for the season. Subscriptions are taken in at Messrs. Rivington and Brown's bookstore . . .

The Concert to begin precisely at Six o'Clock in the Evening.

The subscription concerts seem not to have been continued during the
winter of 1765, at least I have found no information to that effect.

Unfortunately it became customary to advertise the date only of re-
gular subscription concerts and not their programs, a habit which is easily
explained. They were not absolutely public entertainments but accessible
only, as a rule, to the subscribers, and therefore it was hardly necessary
to publish the programs in the newspapers. Programs, in the majority
of instances, as stated, are traceable only in the papers if a pubUc concert
was arranged for the benefit of individual professional musicians.

For these reasons we shall never know exactly — unless the programs
are extant in some collection of early play bills and the like — what works
were performed and who performed them at these concerts. If the programs
were arranged by Francis Hopkinson, his fine library would furnish a clue
to the character of the compositions played and we might argue that the
subscribers had ample opportunity to become famihar with a "variety of
the most celebrated pieces now in taste", as Stephen Forrage expressed
himself when advertising a concert for Dec. 31, 1764 "for the benefit of
Mr. Forrage and others, assistant performers at the Subscription Concert".
On tliis occasion, by the way, Forrage appeared as one of the earliest vir-
tuosos on Franklin's "famous Armonica, or Musical Glasses, so much ad-
mired for their great Sweetness and DeHcacy of its tone".

The "Subscription Concerts" of which Francis Hopkinson seems to
have been the manager probably were not interspersed with choral music,
but would best be classified, to use a modern term, as soirees of chamber-
music. The works wliich called for the largest number of performers cer-
tainly were the Concerti Grossi, concertos for several solo-instruments
with orchestra-accompaniment. To play these, not more than a dozen
musicians were required, and this number could easily have been recruited

— 70 —

amongst the gentlemen- amateurs and professionalmusicians of PhiladeliDliia.
Extracting the names and their specialty from the newspaper advertisements
we might form the follo^\ing idea of the orchestra:

Francis Hopkinson would preside at the harpsichord. The strings
would be represented by James Bremner, Stephen Forrage, John Schneider^
Governor John Penni) and two or three other amateurs. When occasion
called for it, John Schneider would play the French horn, Ernst Barnard,
George D'Eissenburg or, if he still resided at Philadelphia, John Stadler
the German flute; and that oboists were to be had in the Quaker City was
shown in my monograph on Francis Hopkinson.

Amusingly primitive as all this may seem to readers not historically
trained, it was a beginning, and the seventy subscribers certainly enjoyed
the music as much if not more than hundreds and thousands of those who
fill a modern concert-hall and hsten attentively to music much of which,
though now considered immortal, will be forgotten as have been forgotten
the compositions by such gifted men as Valentini, Corelh, Pugnani, Stanley,
Geminiani, etc., played by Hopkinson, his friends and the "Assistant Per-
formers".

That Francis Hopkinson's part in laying the foundations of a concert
life at Philadelphia has not been exaggerated may be inferred from the
fact that during the two years of liis sojourn in England and though James
Bremner was residing at Philadelphia, no concerts are to be traced there,
that is to say in 1766 and 1767. Indeed the concert Hfe continued to be
at a very low ebb until late in 1769 when we again notice an upwards ten-
dency, due mostly to

"John Gualdo, Wine Merchant from Italy, but late from London . . . [who] opened
a store in Walnut Street, between Second and Front Streets ... in August 1767."

To judge by the papers, this Gualdo, who reminds us of Viotti in his
double capacity of musician and mne merchant, was quite a character.
He "adapted and composed music for every land of instrument"; sold
instruments; kept a servant boy, who, at a moment's notice, copied any
desired fashionable piece of music, and taught ladies and gentlemen how
to play on the viohn, German flute, guitar and mandohn, etc. In October
1769 Gualdo intended "to sett off for Europe ... to transact some particu-
lar and advantageous business for himself and other gentlemen of this
town". He therefore begged "the favour of every person indebted to him,
to make a speedy payment and in so doing, they will enable him to discharge
his own debts before he leaves America, for which part of the world every free

1) John Penn, Lieutenant-Governor of Pennsylvania, friend of Francis Hopkinson,
and amateur musician, was born in London 1729 and died in Bucks County, Pa., in
1795.

— 71 —

man in his right senses^ should have an everlasting regard, for reasons before
now quoted by gentlemen more learned than the subscriber". For reasons
best known to himself and his debtors, Gualdo preferred not to set off to
Europe, as will be seen.

The first concert given by John, or more correctly, as he was an ItaUan,
Giovanni Gualdo, was announced in the Pa. Journal Nov. 9, 1769, in the
follomng manner:

At the Assembly Room, on next Thursday, (being the sixteenth of November)
will be performed a Grand Concert of Vocal and Instrumental Musick; with Solos played
on different instruments: the concert to be directed by Mr. Gualdo, after the Italian
method!).

1) Apparently this method was a novelty for Philadelphia but exactly what
Gualdo meant by "directed after the Italian method", I am not prepared to say. Emil
Vogel's remarkable essay, 'Zur Geschichte des Taktschlagens' (Peters Jahrbuch, 1898)
is commonly considered the best contribution to the history of conducting, but shortly
after its pubUcation Mr. Walter Unger, a friend of mine and pupil of Adolf Sandberger,
selected for his doctor thesis the same subject because he noticed that Vogel's pioneer
essay did not cover the ground fully and I remember having copied at Mr. Unger' s
request certain passages from books in the Ubrary of the Liceo Musicale of Bologna
which he claimed would shed new Ught on the matter. However, as Mr. Unger's thesis
does not seem to have been finished or published we have to depend on Emil Vogel
as the best authority. The crucial point in the history of conducting appears to be the
problem of the baton. The chironomy of the middle ages knew conducting by gestures
only but audible conducting either by hitting the music stand with the right hand or
with a paper roll is traceable as early as the tenth century. This latter method gradually
became universal for church music and vocal music in general. A baton (longer than
the ordinary paper roll) was occasionally used for larger bodies of performers as for
instance at a banquet given by Cardinal Graf Helfenstein in 1564 with 50 vocalists
and 80 instrumentalists when the conductor held a "gulden Stecken in der Hand".
Operas were conducted differently, in Italy from the cembalo with gestures and
in France by beating time on the floor with a massive stick (in Lulli's time) and later
on by marking time with the vioUn bow, this prerogative of the leader becoming cus-
tomary for all orchestral music in France, England and Germany during the second
half of the eighteenth century. In Germany, Vogel asserts, a paper roU was used during
the first half of the eighteenth century not only for vocal but also for orchestral music.
All these methods were more or less audible and not until about 1800 did the energetic
appeals for continuous, inaudible conducting bear fruit. The modern baton, says
Vogel, was first introduced in Germany in 1801 by Landgraf Ludwig von Hessen in
Darmstadt who then began to conduct with baton and music stand with score before
him. This method gained foot every where else very much later, 1812 in Vienna, 1817
in Dresden and in Leipzig not until 1835.

All this seems plausible enough and yet, after having hunted for references to
conducting in olden times, I cannot suppress, the opinion — and I found myself in accord
with W. H. Henderson — that several points call for further investigation. It is cer-
tainly not the place here to discuss the matter fully and I therefore merely submit two
references which go to show that Vogel's theory of the vicissitudes of the baton are
not wholly correct. In Johann Beerens 'Musicalische Discurse', 1719 we find this
"Von dem modo oder Art und Manier zu tactieren".

"An etlichen Orten haben die Organisten ein holtzern Gestelle und in dem-
selben einen holtzernen Arm diesen treten sie mit dem Fuss auf und nieder dabey
ich mich dann fast krank lachen miissen. Andere tappen mit dem Fuss wider den
Boden, dass er pufft . . . Andere tactiren mit dem Kopfe . . . Andere nehmen zu-
sammengerolltes Papier in die Fauste und vergleichen sich also mit denen Kriegs
Generalen . . . Etliche fiihren den Tact mit einer, etliche mit beyden Handen . . .
Andere gebrauchen sich eines langen Steckens oder Stragels, ohne Zweifel vermittelst
desselben die unachtsamen Jungen auf den Schadel zu schmeissen."

— 72 —

Tickets at a Dollar a piece to be had of the Waiter at the London Coffee House,
and at IVIr. Gualdo's in Front-street, near the Bank- meeting. To begin exactly at half
an hour after Six o'clock.

N. B. Hand Bills will be printed mentioning what pieces shall be performed in the
two acts. The evening to be ended with a ball (if agreeable to the Company) without
further Expense.

As tlie Pa. Journal printed the program on the day of performance
we are not a great loss if none of the printed hand-bills are extant:

Act I.

Overture composed by the Earl of Kelly.

'Vain is beauty, gaudy flower,' by Miss Hallam.

Trio composed by Mr. Gualdo, first violin by Master Billy Crumpto.

'The Spinning Wheel,' by ]\Iiss Storer.

A German flute Concert, with Solos, composed by Mr. Gualdo.

A new Symphony after the present taste, composed by Mr. Gualdo.

From Nef's 'Collegia Musica', I quote the following passus in the anonymous
satire 'Die Reise nach dem Konzerte' Basel 1755:

"Aber es war . . . einer mit einem diinnen Stecklein welcher damit in der Luft
ob sich und nid sich schlug und still machtc."
Consequently the baton was kno"mi both in Germany and Switzerland before
1800. In England 'beating time' cannot have been abolished altogether about 1780, for
otherwise the anecdote in the Musical Memoirs of Parke (who assisted) would be without
a point. He narrates that when Dr. Hayes of Oxford and Dr. jMiller of Doncaster came
to town to give their gratuitous assistance as conductors by heating time at the Handel
Commemoration of 1784 they were "set down" by Cramer, the leader, who gave the
signal for the beginning by tapping the bow. This was quite in keeping with what
Jackson says in his 'Present state of music in London', 1791:

"Instrumental music . . [is] carried to so great a perfection in London, by
the consummate skill of the performers, that any attempt to beat the time would
be justly considered as entirely needless."
But what I miss particularly in Vogel's essay in order to explain Gualdo's remarks,
is a clear reference to the method of "directing" orchestras outside of the theatre in
Italy about 1750 and later, and in England, which would mean also in America, about
1750 and earlier. If what Mattheson says in his Critica Musica, 1722, apphes also
to the next decades, namely: "In den Italienischen Orchestern wird kein Tact geschla-
gen", then we may argue that the custom of leading an orchestra originated in Italy
and spread from there about 1750 to other countries where the function of conducting
the orchestra lay either in the hands of the cembalist or of a real conductor. It is further
more inconceivable to me that the use of a baton in orchestral music should have sud-
denly sprung into existence about 1800 and the authors quoted seem to contradict
any such theory. Perhaps after an exhaustive treatment of this per se very irrevelant
problem the solution will suggest itself that a baton rather than the unwieldy paper
roll was used by the cembalist and remained in use in orchestral music until tempo-
rarily superseded by the violin bow of the leader. With the growth of the orchestras
and M'ith the gradual and absolute aboUshment of the cembalo the conductor natu-
rally stepped on the raised platform, baton in hand, from beginning to end of the
piece, with the score in front of him.

Finally, to gain an idea of just how the conducting was done by the cembahst,
we need but watch the pianist in the modern vaudeville-orchestras (undoubtedly the
direct, though perhaps illegitimate descendants of the 18th century orchestra), especially
in Italy, where he wiU first mark time with the baton and often enough with the hideous
noise of yore, then lay it aside for a while, then take it up again at a change of tempo
or for some other reason, and so on throughout the performance, but using merely
his hand for the necessary gestures only when he finds it inconvenient to pick up the
baton.

73 —

Act II.

A new Violin concerto with solos, composed by Mr. Gualdo.

A Song by Mr. Wools.

A Sonata upon the Harpsichord, by Mr. Curtz.

Solo upon the Clarinet, by Mr. Hoffmann, junior.

A Song by Miss Hallam.

Solo upon the Mandoline, by JMr. Gualdo. i)

Overture, composed by the Earl of Kelly.

Truly a program worth noticing, especially as it shows Gualdo in his
capacity as composer. His works not being extant, we have no right to
express an opinion concerning their merits. At any rate, Gualdo himself
seems to have been very much in favor of his music if he ventured to devote
an entire evening more or less to his own works; and I doubt not that this
concert of November 16, 1769, was the first "composers'-concert" given in
our country.

The affair was clearly for Gualdo's own benefit, since the Subscrip-
tion Concerts did not begin until November 30. On this day we read in the
Pa. Gaz. :

To THE PhILO MtfSICAL LaDIES AND GENTLEMEN.

This evening Avill be performed the first Concert by Subscription, at Mr. Daven-
port's in Third Street. The Vocal Music by Messieurs Handel, Arne, Giardini, Jackson,
Stanley and others. The Instrumental Music by Messieurs Geminiani, Barbella, Cam-
pioni, Zanetti, Pellegrino, Abel, Bach, Gualdo, the Earl of Kellj^ and others.

Tickets for one Night, at f ve shillings a Piece to be had of the Waiter of the London
Coffee House, and at Mr. Davenport's. No admittance wiU be given without the Tickets,
nor Money received at the Concert room. To begin at Six o'Clock.

N. B. In the best Part of the Room Chairs will be placed for the Ladies and Ben-
ches for the Gentlemen.

Gualdo is moving here in exceptionably good company. If all the Sub-
scription Concerts were of the same standard then we moderns are not
justified in haughtily smihng down on Gualdo and his assistant performers,
for a ghmpse into musical dictionaries will show that most of the composers
named were by no means mediocrities. But what counts more than this,
they were contemporaries of Gualdo, Hopkinson, and Penn, and just as
modern in those days as are now Brahms, Wagner, Tschaikowsky, Richard
Strauss, Debussy. Consequently the ready appreciation of foreign novelties
by the American public is an inheritance of Colonial times and not the
result of German innnigration during the nineteenth century 2).

1) Gualdo seems to have had a predilection for this instrument. The Library
of Congress, for instance, possesses some manuscript trios of his in this curious combi-
nation: 'Six easy evening entertainments for two mandohns or two vioUns with a
thorough bass for the harpsichord or violoncello'. The British Museum possesses in
print his op. 2, 'Six Sonates for 2 GJerman flutes with a thorough bass' on which he is
called Giov. Gualdo da Vandero.

2) The Bach mentioned Avas not Johann Sebastian but his son Joharm Christian,

— 74 —

The next concert under Gualclo's direction which I was able to trace
is instructive, as its program discloses the fact that none of the orchestral
instruments employed in Europe for concert purposes were missing at
Philadelphia, not even the Clarinet, at that time by far less common than
to-day.

We read in the Pa. Chronicle, Oct. 1—8, 1770:

To the Ptiblic.
By particular desire, on Friday, (being the 12th October) a concert of music will
be directed by Mr. Gualdo, in which the following pieces will be performed in two acts.

Act I.
Overture with Violins, German Flutes, French Horns, etc. —
Concerto with Solos for two German Flutes — Quartetto —
Trio — Solo upon the Clarinet — Symphony —
Solo upon the Violin.

Act II.

Overture — Concerto upon the German Flute— Solo upon the Harpsichord — Quartetto —
Solo upon the Mandolin— Symphony.
N. B. Tickets at a Dollar a Piece, to be had at Mr. Gualdo's in Norris Alley, and
at the Waiter of the London Coffee House. — To begin at half an Hour after six in the
Evening.

In the Pa. Journal November 8, 1770, a similar concert was advertised
"two days after Christmas", with the remark that

at the request of several Gentlemen and Ladies, Mr. Gualdo, after the Concert,
will have the room put in order for a Ball, likewise there will be a genteel Refreshment
laid out in the upper room for those Ladies and Gentlemen who shall chuse to Dance,
or remain to see the Ball. For the Ball he has composed six new minuets, with proper
cadence for dancing, and he flatters himself will be favourably received.

Tickets at Ten Shilhngs a piece . . .

N. B. If any Gentleman or Lady should chuse to go away after the concert, the
Porter will return Half a Crown to each Person.

I doubt very much whether many persons took advantage of this N. B.,
for from all we know of the Colonial dames and cavahers they would rather
have missed the German flute concertos and symphonies than Gualdo's
"six new minuets with proper cadence for dancing".

One month later, on Jan. 24, 1771, Gualdo advertised another con-
cert, to take place on Feb. 8. This was probably the last concert which
he conducted for his benefit. He announced on Aug. 22d his intention
to direct a "Concert of Music at the Assembly Koom", on the eighteenth
of October "the day after the races" but cruel Nemesis interfered. By the
seventeenth of this month

Sigr. Gualdo lies in Chains in one of the Cells of the Pennsylva. Hospital,

1735 — 1783 who settled in England, which fact procured him the name of the "Lon-
don" or "Enghsh Bach". Once celebrated, his works are now underrated.

— 75 —

as Francis Hopkinson wrote in a letter to John Penn and melancholi -

cally lie added:

poor Butho 1) was kill'd a few Weeks ago by a Fall from his House.— Except
Forage and myself I don't know a single Votary the Goddess hath in this large city.

The contradiction, with all due respect for contemporary exddence, is appa-
rent. Could Sigr. Gualdo announce a concert for the eighteenth of October,
unless there were sufficient votaries of the Goddess to play and sing at her
altar? At any rate, hardly had John Penn received his friend's hues when
the Pa. Gaz. on Nov. 28th, 1771, printed the following advertisement which
certainly goes to show that the outlook was not quite so gloomy as the
Father of American Composers would have us believe.

By Permission and Particular Desire.

For the benefit of Mr. John M'Lean (Instructor of the German Flute) will be per-
formed at the Assembly Room in Lodge Alley, Concert of Music (Vocal and Instru-
mental) to begin precisely at Six o'Clock in the Evening on Thursday the fifth of De-
cember.

The Concert will consist of two Acts, commencing and ending with favourite Over-
tures, performed by a full Band of Music, with Trumpets, Kettle Drums, and every
Instrument that can be introduced with Propriety. The Performance will be inter-
spersed with the most pleasing and select Pieces, composed by approved Authors;
a Solo will be played on the German Flute by John M'Lean; and the whole will con-
clude with an Overture composed (for the Occasion) by PhiHp Roth, Master of the
Band belonging to his Majesty's Royal Regiment of North British Fusileers.

Several Gentlemen, who wish to encourage and reward Merit, have suggested
this pubUc Amusement, and have designed to honour with their Protection the Person
for whose Benefit it is intended ; one Instance of their condescending goodness, he will
ever gratefully acknowledge, in consenting, it should be Kno-mi, they have been pleased
to offer their Assistance in the Performance, which every possible jMeans will be used
to render agreeable and entertaining to the Company, for whose further Satisfaction,
it is also proposed, that after the Concert there shall be a Ball ; on this account the
Music will begin early, and as soon as the 2d. Act is finished the usual Arrangement
will be made for dancing.

N. B. The Tickets for the Concert may be had at the different Printing Offices
in this city, at the Bar of the Coffee House and at Messieurs Duff and Jacob's Taverns
in Second and Third Streets. Price 7 s 6.

In July and August of the following year, Philadelphians had occasion
to enjoy a series of 'Lectures on Heads' with singing and other entertain-
ments, the sixth of which was given on Aug. 18th for the benefit of the
hospital. A few days later, on August 24th, a concert was given by a Mr.
Smith who sang a selection of the last and "most approved" songs at Vaux-
hall and Ranelagh, as f. i. 'Rule Britannia', 'As late' I wander'd o'er the
plains', 'Sweet Willy', '0! Young Jockey', 'Infancy, the cruel t}Tant', 'The
Echoing horn', 'Adieu, thou lovely youth', 'Come, come my dear girl', 'God

1) In his reply (Cavendish Square June 26, 1772) John Penn wrote sympathetic-
ally: "I am very sorry for the fate of poor Butho. I believe he was an honest fellow
though he often occasioned much discord in our small concerts". Poor Butho!

— 76 —

save the King'. This popular program^ strange to say, was rendered at

the State House and to make tilings more attractive

"The State House [was to be] grandly illuminated, and the performance [con-
cluded] with a superb and elegant firework under the direction of Mr. Dumont who
has had the honour to perform in London and divers places of this continent, with great
satisfaction . . .

; To prevent confusion, it is humbly hoped, no one will take it amiss their not
being admitted without a ticket which may be had for the Concert and Fireworks,
at seven shiUings and six pence, and the Fireworks only two shillings and six pence
each, at the bar of the London Coffee House."

Gradually the poUtical problems that were to lead to the Declaration
of Independence began to absorb all public interest. It is therefore not
surprising that very few musicians only cared to give concerts, the expenses
of which possibly would not have left anything for their henefit. In fact,
not until several ladies and gentlemen desired Signer Sodi "to shew his
talents as master" do we run across another concert. It was thus ad-
vertised in the Pennsylvania Journal, June 15, 1774 :

GRAND CONCERT & BALL, at the Assembly Room in Lodge Alley, on Friday
the 17th of June, 1774, for the benefit of Signior Sodi, first dancing master of the Opera
in Paris and London, in which Mr. Vidal who has been a musician of the Chambers
of the King of Portugal will play on divers instruments of music, i)

First Act.
1. A Symphony. 2. ]\Ir. Vidal will play a Sonetta on the Guitare Italian, with
the violin. 3. A Symphony. 4. Mr. Vidal will play a duetto on the mandolino, accom-
panied with the violin. 5. First Act will finish with a march composed by Mr. Vidal.

Second Act.

1. A Symphony. 2. Mr. Vidal will play a capriccio on the guitar. 3. A Symphony,
4. Mr. Vidal will play a solo on the psalterj', and a minuet imitating the echo. 5. Se-
cond act will end with another march composed by Mr. Vidal.

After the concert, Signior Sodi will dance a louvre and a minuet with Miss Sodi;
then a new Philadelphia cotillion composed by Signior Sodi. Miss Sodi will also dance
a rigadoon and minuet with ]\Ir. Hulett [of New Jork]. A new cotillion ; then the
allemande by Miss Sodi and Mr. Hulett; also Signior Sodi will danse a jigg, after-
wards Mr. Hulett will dance a hornpipe and to finish with a ball for the company.

Signior Sodi added his intention to open a dancing school and Mr. Vidal
acquainted the pubhc that he wished to dispose of "a parcel of fine trinkets
and jewels in the newest fashion, with a variety of diamond rings, and a
great quantity of instrumental strings".

In view of such advertisem^ents there can be httle doubt of a temporary
retrograde movement in Philadelphia's musical hfe during the years pre-
ceding the war. This observation is further borne out by an advertisement
which "]VIr. Victor, musician to her late Royal Highness the Princess of Wales,

1) Possibly he was identical with the guitarist B. Vidal mentioned by Fetis and
Eitner.

— 77 —

and Organist at St. George's London" inserted in the Pennsylvania Packet,
Oct. 17, 1774. After acquainting "the musical gentry in general" that he
gave instructions on the harpsichord, forte piano, viohn, German flute, etc.
and especially" in the thorough bass both in theory and practice", Mr. H. B.
Victor 1) took occasion to remark that he

"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 doppio 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 d" amour, which resembles
the musical glasses played by harpsichord keys, never subject to come out of tune,
both of his own invention."

How far away is this from the legitimate concerts given by Bremner,
Hopkinson and Gualdo in the sixties! Still, such freakish entertainments
have their raison d^etre^ and if, as Brenet tells us, Marie Leczinska, wife of
Louis XV, and her courtiers enjoyed the charlataneries of Jacque Loeillet
immensely who, like the amazingly clever and exceedingly artistic Leo-
poldo Fregoh of our own time, would act and sing the parts of an entire
opera cast with hghtning changes of costume and appearance, then the
Colonials really cannot be censured if they applauded Victor's antics on
the Tromba doppio con tympana.

Soon afterwards our struggle for independence began. Our people con-
tinued to enjoy and cultivate music in the privacy of their homes, so far as
the vicissitudes of war allowed it and more than one captive Hessian officer,
as we know from diaries, ingratiated himself by lending a musical hand.
But music in pubhc ceased to flourish.

Many "gentlemen performers" were on the field of honor and those
who were not would hardly have dared in such times to spend their money
on opera or concerts. In the first place, the women, often more patriotic
and more sensible than the men, would have objected and in the second
place they then would not have had the excuse of over-taxation when ex-
pecting George Washington to vanquish a formidable foe with an ill-clad,
ill-fed and ill-trained army. Even if Congress had not recommended in
October, 1778 that the several States pass laws to prevent theatrical enter-
tainments "and such other diversions as are productive of idleness" 2),
I doubt whether the people themselves would have encouraged concerts,
though a sufficient number of musicians remained in Philadelphia to have
performed at public concerts if such had been desired. For instance, in 1779
"Brother Proctor's band of music" assisted in the "celebration of St. John,

1) From an other newspaper advertisement we learn that H. B. Victor was a
German who emigrated to London in 1759. He remained at Philadelphia at least
until 1778.

2) Louis C. Madeira, Annals of music in Philadelphia, 1896, p. 33.

— 78 —

the Evangelist's Day by the Society of Free and Accepted Masons" and
in the following year, during Commencement at the Universit}' of Penn-
sylvania, also a band of musicians figured prominently. But this was to-
wards the end of the war and, on the whole, it may safely be said that our
pubhc music consisted in those years of that of the fife and drum and of
such songs as 'Yankee Doodle', 'God save the thirteen states'. Billing's
forceful hymn 'Chester' and Hopkinson's satirical ballad 'Battle of the
Kegs' sung to the tune of 'Annie Laurie'.

Of course, while Lord Howe's \-ictorious army held Philadelphia, the
city resounded of songs of quite a different nature and Philadelphia became
a kind of j)etite Paris. Said Captain Johann Heinrichs of the Hessian Jager
Corps in his letter-book under date of Philad. January 18, 1778:

". . . . Assemblies, concerts, comedies, clubs, and the like make us forget there is
any war, save that is it a capital jokei)."

and beautiful, gossip-loving ]\liss Rebecca Franks enthusiastically ^vrote in

a letter (Sept. 1777) to her friend Mrs. Paca:

"Oh! how I wich ]Mr. P. would let you come in for a week or two. I know you
are as fond of a gay-life as myself. You'd have an opportunity of raking as much as
you choose, either at Plays, Ball, Concerts or Assembhes. I've been but three eve-
nings alone since we moved to town . . ."

This gav-hfe of the British and Tories of Philadelphia reached its cUmax
in the splendours of Major Andre's 'Mischianza' in 1778. Immediately after-
wards they found to their sorrow that the war was not a capital joke. Hur-
riedly they evacuated Philadelphia and had Miss Rebecca not followed the
flag of her choice, she would now have been alone most of her evenings,
for hfe at Philadelphia would have been very monotous indeed for a young
lady of her temperament. The only entertainment of any pretensions,
which the Americans would have offered her, once Philadelphia again came
into our possession, was Francis Hopkinson's patriotic 'oratorial entertain-
ment ^Temple of Minerva', performed in semi-operatic style at an "elegant
concert" which Lucerne, the minister of France, gave on Dec. 11, 1781 in
honor of Generals "Washington, Greene, "and a very^ polite circle of gent-
lemen and ladies".

On such rare state occasions only did the end of the war bring any enter-
tainments resembhng concerts, but immediately after the war the concert-
Ufe of Philadelphia seemed to awaken as from a lethargic stupor. The
first event of importance was the estabhshment in 1783 of the fortnightly
'City Concert' and John Bentley, afterwards leader in the orchestra of
the Old American Company, who founded them deserves to be considered

1) In 'Extracts' from his letter-books 1778—1780. as translated by Juhus F.
Sachse in the Pa. Mag. of Hist, v. XXII.

— 79 —

one of the most important figures in tlie musical history of Phila-
delphia.

As the second concert was to be on November 11th, the first must have
taken place late in October. The subscriptions were limited for want of
room as will be seen from the advertisement of the second concert in the
Pennsylvania Packet, November 6th:

CITY CONCERT.
The subscribers will please to take notice that the next concert will be on Tuesday
the 11th instant, at the Lodge Room. As a number of gentlemen expressed a desire
of subscription, whose subscriptions ^Ir. Bentley could not receive tiU he had ascertained
the number the room would hold: he now informs them that the subscription is open
for 25 more subscribers, after which it will be finally closed. Tickets for non-sub-
scribers may be had at 10 s each ....

The dates of the other concerts fell on Nov. 25, Dec. 9, Dec. 23, 1783;
Jan. 6, Jan. 28, Feb. 17, March 2, March 16, April 2, 1784 (the last), in aU
eleven. The programs do not seem to have been printed in the newspapers,
not even the soloists being mentioned except when Signora Mazzanti, whom
Boston had already heard before the war, was announced as the vocal soloist
for the fifth. However, 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.

If Bentley, as he expressed himself, had been hampered during the first
season by "the peculiar circumstances of the time"' he seems to have over-
come the difficulties when announcing the second series in this instructive
advertisement in the Pennsylvania Packet, Sept. 9, 1784:

CITY CONCERT.
Mr. Bentley once more submits his proposals to the pubhc, for a Subscription
Concert, to be continued during the six winter months. Having considerably enlarged
his plan, in compUance with the general wish, and having obtained a reinforcement
of vocal as well as instrumental performers, he flatters himself that he shall be able
to furnish a more elegant and perfect entertainment than it was possible (from the
pecuUar circumstances of the time) to procure during the last winter. The hberal
indulgence which was then shewn to a first attempt, obstructed by many difficulties,
the rising taste for music, and its improved state in Philadelphia, are objects that
must constantly excite ilr. Bentley's attention to whatever can increase the pubUc
satisfaction, or entitle him to a continuance of their favoiir and applause.

Proposals.

1st. That there shall be a Concert once in two weeks commencing in October:
each concert to conclude at half past nine in the evening, after which rooms will be
opened to Dancing and Cards.

2d. That every subscriber shall be entitled to tickets for two ladies, besides his
own admittance.

3d. That each Subscriber pay two guineas and a half.

4th. That officers of the army and strangers (only) shall be admitted on paying
10 5. each.

— 80 —

The room, last season, having been found cold, proper care will be taken to prevent
it this season, by placing stoves in different parts, in which the first will be placed in
the early part of the day.

The first concert of the series was given on Nov. 2d and the City Concert
then proceeded regularly until April 26th except that by the desire of the
majority of subscribers the first December concert was deferred until the
twenty- first "being in the same week with the Assembly", the one announced
for Feb. 1st to Feb. 4th "on account of the inclemency of the weather"
and the one for March 1st to March 3d in order not to conflict with" the
laudable undertaking for the benefit of the poor at the theatre". Un-
fortunately we are again at a loss to know John Bentley's repertory. We
learn only that in the first concert "some favourite catches and glees" were
introduced and in the concert on Feb. 4, 1785 "several favourite airs, by
an amateur and a young lady (being her first appearance in public)" also
that on March 17th was performed "a grand medley in which [was] intro-
duced the favourite song of Alieen Aroon with some other favourite airs
and Auld Robin Gray". This medley was repeated on April 16th, the con-
cert concluding with a "glee and chorus from the opera of the Castle of
Andalusia" by Samuel Arnold.

^During the winter of 1785/86 the City Concert was discontinued, pro-
bably omng to a three-cornered quarrel between Henri Capron^), William
Brown and John Bentley, the leading musicians of the enterprise but when
Alexander Reinagle arrived at Philadelphia in 1786, he immediately, by
virtue of his superior talent and individuaUty, assumed control of the
musical affairs of the city. Evidently he brought about a reconciUation
between Capron and Brown — Bentley had gone to New York — for on Oc-
tober 18th the Pennsylvania Journal printed the proposals to the effect
that twelve fortnightly concerts should be given commencing on Oct. 19th.
The conditions as to admission were somewhat similar to those of Bentley,
the subscription being fixed at two guineas instead of two and a half and
the admission of strangers to one dollar each. The proposals were signed
by H. Capron, A. Reinagle, W. Brown and A. Juhan who assured the pubhc
of their "greatest endeavours ... to render every performance agreeable and
satisfactory to the lovers of music", that "a new orchestra is erected and
the greatest care will be taken to make the room agreeable". The first
concert was announced for October 19th at the City Tavern and at last
we are in position to form an opinion, and a very favorable opinion it will

1) He probably was identical with the "able viohnist one and of the best pupils of
Gavinies" who, according to Fetis, performed at the Concert Spiritual in 1768. Fetis
and Eitner mention several of his published works. Of these the Library of Congress
possesses 'Six sonates a violon seule et basse', op. 1.

— 81 —

be, of the music performed at these concerts as the programs were regularly
announced in the papers. The "Plans" follow here with their respec-
tive dates.

FIRST CONCERT, OCT. 19, 1786.

Act I.

Favorite Symphonie VanJiall

Song, Mr. Capron Gretrey

Sonata, Piano Forte Haydn and Reinagle

Act II.

Concerto Flute • .. .. Windling

A Favorite Rondo

Solo Violoncello Tilliere

Act III.

Concerto Violin Cramer

New Symphony Haydn

Miscellaneous Concerto
Glee

SECOND CONCERT, NOV. 1st.

Act I.

Overture Toeschi

Song, Mr. Reinagle from the Dviemia^)

Concerto Flute Stamitz

Act II.

Concerto Violin Fiorillo

Symphony Lachnith

Sonata Piano Forte Reinagle

Act III.

Concerto 2d Corelli

Duett, Violin and Violoncello Breval

By particular desire, the Miscellaneous Concerto.

THIRD CONCERT, NOV. 16th.

Act I.

Overture Vanhall

Duett, Violin and Violoncello Breval

Concerto Corelli

Act II.

Concerto Violin Pesch

Symphonie Stamitz

Sonata Piano Forte and Violin Reinagle

Act III.

Quartett Kammel

Concerto Flute , Eichner

Symphony Haydn

1) Opera by Linley.
Sonneck, Early Concert Life.

— 82 —

FOURTH CONCERT, NOV. 30th.
Act I.

Overture (with flute obligate) Haydn

Song, Mr. Reinagle Baily

Solo, Violin Juhan

Act II.

Concerto Flute Brown

Symphony Andrie

Solo Violoncello with famiUar airs Capron

Act III.

Double concerto, Flute and violin Davaux

Favorite Rondo Martini

Sonata Piano Forte Reinagle

Symphony

FIFTH CONCERT, DEC. 14th.
Act I.

Overture Van Hall

Song Reinagle

Solo, Violoncello Tilher

Act II.
The favorite Overture of Rosina i)

Concerto Flute Mezger

Sonata Piano Forte Mozart

Act III.

Symphonia Haydn

Song

Concerto Viohn Fiorillo

SIXTH CONCERT, DEC. 28th.
Act I.

Overture Lord Kelly

Song Reinagle

Solo Violin Heimberger

Act II.

Overture Lachnith

Sonata Piano Forte Haydn

Song (by request) Du Poids de la Vienesse

Act III.

Concerto Violoncello Capron

Overture of Rosina

Concerto Flute Fialla

SEVENTH CONCERT, JAN. 11, 1787.
Act I.

Overture Ld. Kelly

Song Gretry

Quartetto flute Schmitbaws

[Schmittbauerj

1) Shield.

— 83 —

Act II.

Overture Vanhall

Concerto Violin Borghi

Quartetto Davaux

Act III.

Sonata Piano Forte Prati

Solo violoncello by Lesire
Overture of Rosina.i)

EIGHTH CONCERT, JAN. 25th.

Act I.

Overture Bach

Song (newly composed) Reinagle

Concerto Violoncello Trickier

Act II.

Overture Haydn

Sonata (English guitar and song) Capron

Quartett Kammel

Act III.

Concerto Flute Stamitz

Sonata Piano Forte Haydn

Sonata Viohn Heimberger

Finale Vanhall

NINTH CONCERT, FEB. 8th.

Act I.

Grand Overture (performed at the Musical Fund, London) Haydn

Song Reinagle

Sonata, Guitar Capron

Act II.

Overture Bach

Solo Violin Juhan

Duetto Piano Forte and Violin Reinagle

Act III.

Duetto Violoncello and Violin Capron

Concerto Flute Brown

Overture to the opera Rose et Colas 2)

TENTH CONCERT, FEB. 23d.

Act I.

The Grand Overture Haydn

Song Reinagle

Concerto Violin Borghi

Act II.

Sonata, Piano Forte Reinagle

New Solo, Flute Brown

Overture Bach

1) Shield.

2) Monsigny.

6 =

— 84 —

Act III.

Solo Violoncello Tilliere

Favorite Quartett Kammell

Overture Toeschi

ELEVENTH CONCERT, MARCH Sth.

Act I.

Symphonie Rosette

Song Reinagle

Concerto Violin Giornovichi

Act II.

Concerto Piano Forte Bach

Duet Violin and Violoncello Vachon

Overture Vanhall

Act III.

Overture Stamitz

Rondo Flute Vanhall

Overture of the Poor Soldier Shield

TWELFTH AND LAST CONCERT, MARCH 22d.

Act I.

The Grand Overture Haydn

Song Giordani

Quartett (Violoncello obligato) Daveaux

Act n.
Overture of Artaxerxes i)

Concerto Violin Giornovichi

Sonata Guittar (by request) Capron

Act III.

Concerto Flute Brown

Concerto Piano Forte Schroeter

Overture Haydn

This fortnightly City Concert at the City Tavern was continued during
the next winter under the management of Brown and Reinagle with this
difference that the concerts were no longer supplemented by balls, at least
not officially. But by far more significant is the fact that tickets were now
for sale at 7 s. 6 d. for the individual concerts, this evidently meaning that
they were now entirely public. The "Plans" of the concerts, which like
most others usually began at seven o'clock, were these.

FIRST CONCERT, NOV. 22, 1787.

Act I.

Grand Symphony Haydn

Song Sarti

Concerto Violoncello Trickier

1) Arne.

— 85 —

Act II.

Sonata Pianoforte Reinagle

Song by Mrs. Hyde

Concerto Flute K. Prussia [King of Prussia !]

Act III.

Solo Violin VanhaU

Song (The Soldier tir'd of war's alarms) Mrs. Hyde

Finale Gossec

SECOND CONCERT, DECEMBER 6th.

Act I.

Overture Stamitz

Song Mrs. Hyde

Concerto and Flute Daveaux

Act II.

Sonata Piano Forte Prati

Solo Violoncello Handel

Quartetto Stamitz

Act III.

Concerto Flute Brown

Song (Tally Ho) Mrs. Hyde

Finale Guglielmi

THIRD CONCERT, DEC. 20th.

Act I.

Symphonie 15th Stamitz

[Song
Quartett Stamitz

Act II.

Trio, Piano Forte, Violin and Violoncello Haydn

Solo Violoncello Schetky

Overture Abel, Opera 14.

Act III.

Concerto Flute Brown

Solo VioUn Reinagle

Overture, Rosina Shield

FOURTH CONCERT, JAN. 3, 1788.

Act I.

Overture first Stamitz

Song

Concerto Flute Brown

Act II.

Trio, Piano Forte, Flute und Violoncello Schroeter

Song Gretry

Concerto Corelli

Act III.

Overture Abel

Solo Violoncello Schetky

Symphony Bach

— 86 —

FIFTH CONCERT, JAN. 17th.

Act I.

The Grand Symphony Haydn

Song Sarti

Concerto Violoncello Brown

Act II.

Sonata Piano Forte Schroeter

Song

Double Concerto Flute and VioUn Daveaux

Act III.

Concerto Flute Brown

Solo Violin Reinagle

Symphony Gossec

SIXTH CONCERT, JAN. 31th.

Overture Stamitz

Song

Sonata Guitar Capron

Act II.

Sonata Piano Forte Reinagle

Song Gretry

Concerto Flute Brown

Act III.

Concerto Stanley

Concerto Violoncello Capron

Overture Stamitz

SEVENTH CONCERT, FEB. 14th.

Act I.

Overture Gossec

Song

Quartett Stamitz

Act II.

Sonata Piano Forte Reinagle

Concerto Violoncello Capron

Overture Andree

Act III.

Concerto Stanley

Rondo Flute of Fisher and Brown

Symphonic Lachnitt

EIGHTH CONCERT, FEB. 28th.

Act I.

Overture 1st Stamitz

Song Gretry

Quartett Stamitz

Act II.

Sonata Piano Forte of Garth and Rondo Brown

Solo Violoncello Schetky

Favorite Symphonic Vanhall

— 87 —

Act III.

Concerto Stanley

Quartett Flute

Symphonie 2d. Stamitz

NINTH CONCERT, MARCH 13th.
Act I.

Overture Abel

Song

Quartett Violoncello Davaux

Act II.
Overture Abel

Song
Concerto Flute

Act III.

Concerto Piano Forte Schroeter

Miscellaneous Concerto.

Apparently the City Concert was then discontinued as no further re-
ference to it is made until the attempted revival in 1792 when on Oct. Slst^
Bache's General Advertiser printed the following:

CITY CONCERT of Vocal and Instrumental Music under the direction of Messrs.
Reinagle, Moller & Capron. The principal vocal part by Mrs. Hodgkinson. The pubUc
are respectfully informed the first concert will be held on Saturday the 18th day of
November at Oeller's Hotel in Chestnutstreet. The directors flatter themselves that
from the engagements they have made with the several performers of eminence, and
the arrangements of the music, the concerts will meet with the approbation of the
public.

Subscriptions are received by Mr. Oellers at his hotel . . .

It is a curious fact that, whenever an artistic undertaking does not
find root, some sympathetic enthusiast will step forward and in a lengthy
dissertation on the powers and beneficial influence of art gently urge the
pubhc to save such a meritorious enterprise from its doom. Generally the
pubhc reads the appeal with pleasure, feels ashamed for a day or two and
then relapses into its dolce far niente. In the case of the City Concert one
of the subscribers after the third concert either could no longer resist the
temptation to expound his views on music in general and on concerts in
particular or he felt dissatisfied with the support given an enterprise in which
he was interested being a subscriber. As a curious specimen of eighteenth
century phraseology and esthetics his entreaties as published in the Federal
Gazette, Dec. 24, 1792 will not fail to arouse some interest in this connection.
If the City Concert was not continued in the winter of 1793 this was probably
less due to pubUc indifference than to the after-effects of the terrible yellow
fever epidemic which raged at Philadelphia during the year 1793 :

ON THE CITY CONCERTS.

Of all the amusements offered to the public there are none that surpass in value
those now under consideration — whether reference be had to present pleasure, or to

future profit — whatever improvement can be expected from the sight of polished
and agreeable companies, or from the comtemplation of beautiful and interesting ob-
jects, combined with melody of sound — or whatever good effects can be produced
on the temper of famihar and domestic life; from the lenient and assuasive balm of
music and harmony, are here to be perfectly enjoyed, without crowds, without late-
hours, or many other inconveniences frequently experienced at public places. To
be pleased at a concert, you have only to sit down and to hear.i)

One bench supports you and one joy unites — there is no struggle for precedency,
or for place, nor any necessity of pre-engaging a box or a i^artner ; you are not mar-
tiaUed out in regular files for a dance, nor enjoined a strict order of figure or succession.
The mind vacant admits of deep and copious draughts of pure and intellectual plea-
sure, calculated justly to allay and to soften the ruggedness incident, even, to the neces-
sary pursuits and avocations of Ufe.

In such situations, the musick should be smooth and affecting, the songs artless
and rural, borrowed chiefly from scenes of country hfe; so the rich man may feel a
species of delight in transporting himself a moment from the splendours that usually
surround him. to scenes of tranquil and unambitious ease; and the poor man consoles
himself to think that some of the most flattering views of life are to be drawn from
the situation of those who, like himself, are treacling only the humbler walks of life.

It is said that in England Royalty is sometimes pleased to retire from the palace
and the throne to the humbler amusements of the cottage in order to enjoy alternately
the highest pleasures permitted to mankind, to be found perhaps in either case, tho'
chiefly in the latter.

Just eulogiumns are due to Messrs. Reinagle, MoUer and Capron, for the public
spirit and the shining talents Avith which they have distinguished the arrangements
of their concerts, but it is a great accession to the pleasure that other performers thrown
on the hospitality of the country by the distresses of a neighboming island, are also
encom-aged and supported and are making an amusement move frequent that before
returned but too seldom.

From such circumstances may be expected a gradual improvement in the national
taste and a greater fondness for one of the most delectable pleasures permitted to
mortality — while it is hoped none will be offended at the preference given to this
entertainment since it is certain no other stands in equal need of public commendation
and favour to support and continue it.

A Subscriber.

The eiglit programs which show a somewhat stronger leaning towards
chamber music than those of the preceding series were these.

FIRST CONCERT, DEC. 1, 1792 (postponed from Nov. 18th).

Act I.

Grand Overture of Haydn, called la Reine de France

Song IVIrs. Hodgkinson

Quartetto composed by IVIr. Gehot

Concerto Violoncello Mr. Capron

(Composed by the celebrated Duport)
Sinfonia Bach

1) A sound bit of advice which the public unfortunately will never learn to heed.
The pubUc in its wild desire to know "how to listen to music" usually forgets "to
sit down and hear"!

— 89 —

Act II.

Quartette Mssrs. Reinagle,

Gehot, MoUer and Capron.

Song Mrs. Hodgkinson

Sonata Piano Forte Mr. Moller i)

Double Concerto, Clarinet and Bassoon Messrs. Wolf and

Youngblut
Overture Reinagle

The concert will begin exactly at 7 o'clock; tickets for admission
of strangers 7 5 6 each to be had of Mr. Oellers at his Hotel.

SECOND CONCERT, DEC. 15th.

Act I.

Overture Mr. MoUer

Song Mrs. Hodgkinson

Quartetto Flute Mr. Young

Concerto Bassoon Mr. Youngblut

Act II.

Overture Bach

Concerto VioUn Gehot

Song .. • Mrs. Hodgkinson

Sonata Piano Forte INIr. Reinagle

Concerto Violoncello

Finale Haydn

Between the first and second act the favourite glee of 'Sigh no more
ladies' will be performed by Mr. and Mrs. Hodgkinson, etc.

THIRD CONCERT, DEC. 29th.

Act I.

Grand Overture of Haydn, called La Reine de France

Quartetto of Pleyel Messrs. Gehot 2), Rei-
nagle, Moller and
Capron

Song Mrs, Hodgkinson

Concerto, Violoncello Mr. \Capron

Act II.

Overture, expressive of the four different nations, viz.
French, English, Italian and German.

Duetti, arranged for the Piano Forte and Clarinet by

Mr. Moller Miss Moller and

Mr. Wolf.

Song Mrs. Hodgkinson

Finale Roeser

1) Our John Christopher Moller probably was identical with the "Moeller, J. .
C. . ." of whose works several are mentioned by Eitner.

2) The printer insisted on calling him Jehot, but his name was Jean Gehot.

— 90 —

FOURTH CONCERT, JAN. 12, 1793.
Act I.

Grand overture Stamitz

Quartette on the French Horn Pelissier i)

Song Mrs. Hodgkinson

Concerto German Flute Mr. Young

Sinfonia Stamitz

Act II.

Overture Vanhall

Song Mrs. Hodgkinson

Concerto Clarinet IVIr. Wolff

Sonata Grand Piano Forte Miss Moller

Concerto Violoncello Mr. Capron

Finale Stamitz

FIFTH CONCERT, JAN. 26.
Act I.

Grand Overture Kozeluch

Song Miss Moller

Quartetto Mr. Reinagle

Concerto Violoncello Mr. Capron

Sinfonia Abel

Act II.

Overture Stamitz

Song Mr. Capron

Sonata Piano Forte Miss Moller

Quartetto Young Mr. Young

Finale Haydn

SIXTH CONCERT, FEB. 9th.
Act I.

Overture Martini

Song Mr. Chambers

Quartetto (Pleyel) Messrs. Reinagle, Gehot, Moller and Capron

Concerto Bassoon Youngblut

Song IVIr. Chambers

Act II.

Overture Mr. Ditters

Song Mr. Chambers

Sonata Piano Forte Mr. Reinagle

Concerto Violoncello Mr. Capron

Song Mr. Chambers

Finale Stamitz

SEVENTH CONCERT, MARCH 2d.
Act I.

Overture 1st Cambini

Quartetto German Flute Mr. Young

Song Mr. Capron

Concerto Bassoon Mr. Youngblut

Sinfonia Stamitz

1) More will be said about Victor Pelissier in the chapter on New York. Possibly
identical with the Pelissier of whom the Cons. Nat. at Paris possesses 'Amusements
varies avec accomp. de musette'.

— 91 —

Act II,

Overture 2d Cambini

Duetto MissMoller & Mr.

Capron

Quartette Messrs. Reinagle, Capron

Sonata Piano Forte Gehot and MoUer

Solo, Violoncello Mr. MoUer

Solo, Violoncello Mr. Capron

Finale Haydn

EIGHTH AND LAST CONCERT, for the benefit of Miss MoUer,
March 31st, postponed from March 16th.
Act I.

Overture Boccherini

Concerto Flute Mr. Young

Quartetto Pleyel

Solo Violoncello Mr. Capron

Sinfonia Stamitz

Act II.

Overture Abel

Miscellaneous Quartett IMr. Reinagle

Concerto Piano Forte Mr. MoUer

Finale Abel i)

In view of programs like these, I believe, the customary good natured
or ill-natured smile worn by historians when stumbHng accidentally across
an isolated eighteenth century program in our country will have to be can-
celled once for ever. Though several of the composers who figured on these
programs have since passed into (perhaps unmerited) oblivion, they were
prominent masters in those days and names hke Haydn, Gretry, Bach and
Mozart are still household names in every musical community. If the
arrangement of the 'Plans' seems a trifle checkered at times to us moderns
who fail to find the same or worse faults in the programs of our own time,
we should not forget that the City Concerts ran on strictly European lines
and contained no oddities which could not easily be dupUcated by quoting
European programs. Further more if, for instance, Mr. Maderia writes 2):

"Besides the real music, there is always a plentiful display of 'overtures' and 'con-
certos' by the local geniuses. Among the Juhans, Reinagles, and Brown, there is scant
room for a Haydn"

this opinion falls Httle short of being absurd. Then as now soloists
were in demand and the only difference lies in this that we now pay, or
presume to pay, as much attention to the composer of a concerto as to the

1) Presumably Reinagle followed the custom of playing the first movement of a
symphony as 'Overture', which was in keeping with the form of a first symphony mo-
vement and the last as 'Finale', as the last movements were generally so called unless
bearing the title of Rondo. Of course, this should not be construed to mean that no
real Overtures were performed!

2) Annals of music in Philadelphia, p. 37.

— 92 —

virtuoso performing it. In those days the performer of a concerto usually
was his own composer. Hence a distinction between the two usually could
not be made. But even when performing a concerto by some other com-
poser-virtuoso it was not considered necessary to mention the composer
because concertos were admittedly looked upon more or less as vehicles for
the exhibition of skill and nothing better. This remark apphes to Capron
Brown, Gehot and other virtuosos, who, however, while guilty of the offense
of composing, as are ninety nine out of a hundred musicians, succumbed
to the temptation very much less oftener than Mr. Madeira seems to infer.
If therefore "Concerto Flute — Brown" not necessarily means and probably
does not mean that Brown played a concerto of his, then such arguments
as those proffered by Mr. Madeira must be severely rebuked in the interest
of fair and accurate historical criticism.

But supposing for the sake of argument that the local geniuses hke the
Juhans, Reinagles and Browns did freely intersperse the programs with
their own compositions, does it therefore really follow that their concertos
and overtures were void of merit? Did Mr. Madeira study them or did he
ever see a copy of them? In view of the fact that only the most indifferent
and unimportant compositions of these men have been preserved in Ame-
rica, such historical slaughter is not only hasty, but unfair and woefully
unscientific. Even if their best works were less than mediocre, the fact
(consult for instance HansHck's book on concerts at Vienna) would still
have to be taken into consideration that concert-givers everywhere in
Europe habitually filled an entire evening with their own compositions
which, only too often, were still more mediocre than their skill in perform-
ing them. Indeed, the American pubhc was decidedly less often subjected
to such cruelty than that of Europe. Finally, a glance at the programs
of the City Concerts will show that only one "local genius" figured pro-
minently on them: Alexander Reinagle. But as a few of his sonatas, pre-
served at the Library of Congress i) in autograph, prove him to have pos-
sessed unquestionable taste and talent as a composer, it is difficult to under-
stand why he should not have acquainted the subscribers to the City Concert
with his works even if, as was often enough the case, a symphony by Haydn
figured on the same program. If with such arguments, which betray the
incapabihty of projecting one's-self into changing (and unchanged) con-
ditions — the sine qua non of the historian — if with such arguments facts
and data are to be grouped and cemented into a historical structure, then
we may just as well frown on the musical hfe of our own time and close

1) It may serve a purpose to remark that the Library of Congress also now possesses
works by Capron and Gehot, printed in Europe and Rondos by Brown printed in
America.

— 93 —

the book of history with a cynical smile. Rather than to fight such wind-
mills, the harmless question may be asked of those historians who dehght
in anachronistic arguments, how many American cities of fifty thousand
inhabitants there are to-day with orchestral subscription concerts such as
Philadelphia and other smaller cities enjoyed more than a century ago?

The query would be still more pointed, if an enterprise for which a Mr.
Duplessis who kept an "EngHsh school for young gentlemen only" in Market
Street was responsible, had been favored with success. The httle I have
been able to find concerning his enterprise is this. On Feb. 22, 1786 there appe-
ared in the Freeman's Journal an advertisement to the effect that there was

"to be let for Balls, Concerts etc. a convenient and completely ornamented Hall,
45 feet long, 21 feet wide, and 13 feet high from the floor to the ceihng, communi-
cating to Market Street and Church alley."

This hall was rented by Mr. Duplessis who on June 9th, in the Pennsyl-
vania Packet, under the heading 'Vocal and Instrumental Music' informed
his friends and the pubHc in general that he proposed opening in his new
room in Church Alley:

A CONCERT of Vocal and Instrumental Music, such as Sonatas, Symphonies,
select and favorite songs, etc. etc. The price of subscription tickets will be six dollars ;
and each ticket shall admit one gentleman and a lady to fourteen concerts the first
of which will be on Saturday Evening, the 17th instant, precisely at 8 o'clock, and con-
tinue every Saturday until the 16th day of September . . . Tickets at 3 s 9 for -^ single
person each day . . .

How many of these fourteen concerts were given is difficult to say. In
fact it is possible to read between the lines of an advertisement on June 22d
that Mr. Duplessis found himself obliged to abandon the enterprise. He
notified the pubhc that the Concert of "harmonial music" intended for
June 17th was unavoidably postponed to June 24th and that it would be
continued agreeably to former advertisements "provided there be a suf-
ficient number of subscribers to defray the expenses".

If tliis and the more successful City Concert was a professional under-
taking, Philadelphia also temporarily possessed entertainments continued
on the older plan of amateur concerts. Whether the "New Concert" which
began by subscription at the Lodge Room in Lodge Alley on Dec. 2, 17831)
independently of the City Concert but to which I found no further reference
belonged to that class is not quite clear. However, an 'Amateur Concert'
existed at Pliiladelphia during the season of 1786/87. The concerts took
place at "Henry Epple's house [a tavern] in Racestreet" but beyond such
notices as for instance that "the eighth concert is postponed on account
of Mr. Wm. Brown's benefit" to Feb. 16, 1787 2) the newspapers had very

1) Pennsylvania Packet, Dec. 2, 1783.

2) Pa. Packet, Feb. 15, 1787.

— 94 —

little to say about the enterprise^ a fact quite in keeping with the character
of the 'Amateur Concert'. On Oct. 17, 1787 the subscribers were requested
to meet on the 19th "in order to chuse managers and a treasurer for the
ensuing winter". The first concert of this season of 1787/88 took place
on Oct. 30th and as the amiouncement was headed'Musical Club' it might
be inferred that the Amateur Concert thrived under the auspices of a musical
society by that name. It was continued also during the next season when
ten concerts were given from Oct. 1788 to March 1789. By the fact that
occasionally prominent professionals advertised their benefit concerts under
the heading of 'Amateur Concert', another pendant to European customs
is furnished where virtuosos would perform gratis at the 'Amateur Concerts',
'Liebhaber Konzerte' or whatever their name was in the different countries.
Having thus levied a time honored tribute from the virtuoso, the organi-
sation would then condescend to assist him in a benefit concert given under
its auspices. The underlying idea was that subscribers to the organization
would reward courtesy with courtesy but only too often did the virtuoso
see himself disappointed in his expectation of reciprocity. A concert with
ball on this plan was given between the sixth and seventh 'Amateur Concert'
by Philip Phile on Jan. 29, 1789. The program as printed in the Pennsyl-
vania Packet, Jan. 26th will show that it resembled the programs as had
been played at the City Concert, to which probably the Amateur Concert
became the successor in pubHc favor during those years:

First Act.

Grand Overture Vanhall

Sonata Piano Forte Reinagle

A Song

Concerto Violino Phile

Rondo Flauto solo

Second Act.

Grand Overture Haydn

A Song

Concerto Clarinetto Wolf

Solo Violino Phile

Grand Overture Martini

The Amateur Concerts were continued until the season of 1790/91 when
they seem to have met with the fate of everything human. A few years
later, in the spring of 1794, an effort was made to combine both the pro-
fessional and Amateur Concert. We read in Dunlop's American Daily
Advertiser in March:

"By Subscription. AN AMATEURS AND PROFESSIONAL CONCERT. Under
the direction of Messrs. Reinagle, Gilhngham, Menel and Carr, at Mr. Oeller's Hotel,
Chestnutstreet, for six weeks, to be held weekly.

For the 2cl, 4th, 6th concert each subscriber will be entitled to two tickets, for
the admission of ladies, and on the last concert night will be given a ball. Subscriptions

— 95 —

at five dollars, wiU be received at Carr & Co.'s Musical Repository, No. 122 Market-
street, and at Mr. Oeller's Hotel.

Visitors can only be admitted by the introduction of a subscriber, for whom tickets
may be had on the day of performance at the Musical Repository.

N. B. The Concerts will commence in the course of a fortnight.

However, the first concert was not held until April 8th. Of the programs
of the series I found the foUowdng:

FIRST CONCERT, APRIL 8th, 1794.
Act the First.

Overture Haydn

Glee — 'Adieu to the village deUghts' Baildon

Quartetto Pleyel

Song — Carr — 'Sembianze amabili' Bianchi

Concerto VioUno Mr. GilUngham

Act the second.

Song, Mr. Carr 'Primroses deck' Linley

Concerto Violoncello IVIi-. Menel

Glee 'Come live with me' Webbe

Concerto Clarinet Mr. Henry

Full piece Haydn

SECOND CONCERT, APRIL 15th.
Act the first.

Overture Haydn

Glee 'Awake Eolian lyre' Dandby

Quartetto Pleyel

Song — Mr. Carr — 'The ling'ring pangs' Horace [Storace]

Concerto Oboe Mr. Shaw

Act the second.

Overture to Otho Handel

Glee 'When Arthur first' Calcott

Concerto Violoncello Mr. De Marque

Song, Mr. Carr, 'Dear gentle Kate' Hook

Overture for wind instruments Panutge

Full piece Haydn

THIRD CONCERT, APRIL 22d.
Act the first.

New Overture Pleyel

Glee 'Here in cool gtot' Mornington

Concertante by Messrs. Gillingham, Stuart, Shaw and

Menel Pleyel

Song — Mr. Carr — 'Mansion of peace' Webb

Concerto Violin Mr. Gillingham

Act the second.

Concerto flute ]\Ir. Young

Song — Mr. Carr — 'Come, come thou Goddess' .. Handel

Concerto Clarinet Mr. Henry

Glee 'Sigh no more, ladies' Stevens

Full piece i Haydn

— 96 —

Subscriptions at four dollars for the remaining nights.

FOURTH CONCERT, APRIL 29th.

Act the first.

Overture Stamitz

Glee

Duet for violin and violoncello by Mr. Gilhngham

and Menel Jarnovick

Song, Mr. Carr

Concerto Violoncello Mr. Menel

Act the second.

New Overture Haydn

Cantata — Mr. Carr Webbe

Concerto Clarinet Mr. Henry

Glee Mornington

Full piece Haydn

This was the first and last season of the Amateurs and Professional
Concert and with one exception also the last attempt at a series of sub-
scription concerts during the century. AVith this exception is Hnked the
name of a lady-musician, known to us from her career in the South and
who also was identified with the foundation of a 'Linen & Muslin Ware-
house' at Philadelphia in 1797. As Mrs. Grattan informed the pubUc that
"the second Ladies Concert''^ was to be held on Jan. 3, 1797 at Mr. Oellers'
Hotel, obviously the first took place in December 1796. Of the first season
of the 'Ladies Concert' hardly anything is known beyond what is contained
in the announcement of the second concert in the Philadelphia Gazette,
Jan. 3, 1797:

MRS. GRATTAN respectfully informs the ladies and gentlemen of the city that
the second Ladies Concert will be on Thursday next, the 3d of January, at Mr. Oellers
Hotel.

Act 1st.

Grand Sinfonie Haydn

'Holy Lord', ^Mrs. Grattan Handel

Concerto Violin Gillingham

Trio & chorus, Siege of Belgrade Storace

Act 2d.

Concerto in B, Mrs. Grattan Dussek

'Ah, non sai', Mrs. Grattan Sarti

Quartett Pleyel

Grand Chorus, Pirates Storace

The Concert will begin at half past six, and at half past eight the music will attend
for the ball.

Mrs. Grattan begs leave to inform the ladies and gentlemen that the subscription
book is at her house, No. 39 North Sixth Street, for the reception of those names who
wish to honor her with their demands.

A subscription for eight nights, sixteen dollars, including a gentleman & lady's
ticket, both transferable. Half subscription 8 dollars, including one ticket. Single
ticket, two dollars.

Mrs. Grattan takes the literty of requesting the subscrifcers to send for their

— 97 —

tickets any day after Thursday the 15th December, at No. 39, North South Street.
Single tickets to be had the day of the concert only, at the Bar of Mr. Oellers's
Hotel.

Mrs. Grattan ventured on a second but more modest season in Dec. 1797.

Probably because concerts alone did not pay^ she announced ber intention

in Porcupine's Gazette^ Nov. 29tli of having "four concerts and balls during

the winter". Subscribers' tickets were not transferable. Single tickets

were to cost two dollars and season tickets six dollars. The concerts again

began at half past six and

"the band to attend for the ball at eight. The expence of which Mrs. Grattan
engages to discharge. The Concerts will begin as soon as the band arrives from New
York".

This probably means that Mrs. Grattan was not on friendly terms with
Messrs. Wignell and Keinagle and preferred to engage instead of their theatre
orchestra that of their rivals, the Old American Company of Comedians.

Mrs. Grattan found herself obliged to devote her energies almost exclu-
sively to chamber and vocal music. In fact on Dec. 16, 1797 she

"respectfully informs the ladies and gentlemen of the city that her first concert
of Vocal Music'' will be held on December 21st at Mr. Richardet's, the caterer.

The program reads:

Act I.

Quartette Pleyel

Song 'Angels everbright' Handel

Glee (Messrs. Carr, Darley, jun. and HiU) 'The Mariners'
Song, ]VIr. Carr, 'The Primroses'

Duett, Mrs. Grattan and Mr. Carr Paisiello

Scotch glee. Mrs. Grattan, Messrs. Carr, Darley and Hill.

Act II.

Concerto, Piano Forte, (by a young lady) Viotti

Song, Mrs. Grattan Sacchini

Glee, Messrs. Carr, Darley, jun., and Hill Jackson

Duet, Mrs. Grattan and Mr. Carr, 'Time has not thin'd'

Song, Mr. Darley, jun.

Quartette, Mrs. Grattan, Messrs. Carr, Darley and Hill.

Apparently the condition that subscribers' tickets should not be trans-
ferable not meeting with public approval, Mrs. Grattan made a compromise
by stipulating that

"any subscriber on paying his subscription, will have a right to demand tickets
for the unmarried part of his family, which tickets will admit them every night during
the season."

In the announcement of her second concert, Jan. 2, 1798, our first lady
manager incidentally took occasion to sohcit the support and patronage
of a generous pubhc by remarking that "necessity obliges her to make this
effort for the maintenance of her infant family". The program announced
reads :

Sonneck, Early Conceit Li£e. 7

— 98 —

Act 1st.

Sinfonia .. Pleyel

Song, Mrs. Grattan, words from Shakespeare. Music

by a lady.
Quartette. Messieurs Gillingham, Hupfield, Daugel and

Menel with a solo for Mr. GiUingham Haydn

Song, Mrs. Grattan Cimarosa

Concerto, Piano Forte by a young lady Krumpholtz

Act lid.

Concerto Clarinet Mr. Wolf

Song, Mrs. Grattan Sacchini

Sinfonia Pichl

After whicli the band attended for the ball. This feature appealed to
the charitable instincts of the public by far more than the concert and
Mrs. Grattan after finding already in December "that the plan of her Concert
is misconceived" and informing the pubUc "that it is the same as the City
Assembly" was sensible enough to strike colors on Jan. 25^ 1798 and "respect-
fully informs the ladies and gentlemen of the city that a,greeable to the wish
of Mrs. Grattan's subscribers, on Tuesday next [Jan. 30] she gives "a ball
with refreshments, instead of a Concert at Mr. Richardet's . . .".

Still, she cannot have subrritted to the dancing enthusiasts altogether

for on Feb. 28th the American Daily Advertiser, probably very much to

Mrs. Grattan's benefit, announced that

"The President and his family honor the Ladies Concert with their presence this
evening."

If it be asked why towards the end of the century subscription-concerts
seem to have lost their hold on the pubhc, several explanations may be
advanced. In the first place, Wignell and Reinagle, when opening their
New Theatre in 1793, gave predominance to opera. This departure must
have absorbed a good deal of the musical interest of Philadelphia and it is
a common observation that in smaller cities where opera becomes the feature
of the musical Hfe an organized concert-life suffers in proportion. Then the
virtuosos found it more to their advantage to give benefit concerts inde-
pendently of the traditional mutual-insurance policy and the more numerous
the occasional concerts became the less necessity there was for a series of
subscription concerts. Finally, concert-goers need a season of rest. They
will frequent concerts in winter time if they are allowed to recuperate from
the strain on their music nerves in the summer. But, if they are led into
the temptation of dissipating musically during the summer al fresco, they
are apt to take their vacation in winter. This was the case at Philadelphia
where summer-concerts became a feature during the last decade of the
eighteenth century.

The first to attempt something of the kind appears to have been Mr.

— 99 —

Vincent M. Pelosi, proprietor of the Pennsylvania Coffee House, who in
May 1786 announced

that by the desire of several gentlemen, he has proposed for the summer-season
to open a Concei't of Harmonial Music, which will consist of the following instru-
ments, viz.

Two clarinets
Two French horns
Two bassoons
One flute i)

To begin the first Thursday of June and to continue every Thursday following,
till the last Thursday of September. The orchestra will open at eight o'clock in the
evening, and continue open until eleven, which shall play different and various airs,
chosen from the most celebrated authors.

A few years later, in 1789, George and Robert Gray, proprietors of the
popular "Gray's Gardens" in the suburbs of Philadelphia, followed suit.
They gave weekly concerts from May to October. Thursday was concert-
day and the concerts began at four o'clock and concluded "precisely" at
nine. "A handsome stage wagon mounted on steel springs with two good
horses" ran twice a day between the city and the ferry for the accommodation
of passengers. On the last night of the season, October 14th, the band was
"considerably" increased and the "vocal part" was executed by a Mr. Wolfe
but the clou of the evening's entertainment consisted in the illumination
of "the fall of water at the mill . . . more splendidly than upon any former
occasion — the music playing opposite to the fall" — in the "Federal
Temple".

Messrs. Gray pubhcly returned their sincere acknowledgments for the
encouragement they had met with in "an undertaking, so new in America",
at least as they thought, and they promised to improve the entertainment
the next season. This second season began on May 8, 1790 with the
illumination of the "transparent painting of the illustrious President of the
United States, executed by Mr. Wright". On the fourth of July, the enter-
tainment, as soon became customary, partook of a patriotic character with
odes, songs and duets" in honour of the glorious event". That the managers
well understood how to cater to the curious may be seen from the fact
that they engaged for Sept. 2d "The son of Mr. D. Duport, not ten years
of age, who has performed before the Royal Family in France" and who
was to play two violin solos. On the whole, the music offered at these
open-air concerts was of a rather liigh standard. For instance, the program
for Oct. 16th. 1790 reads:

1) Again I must refer to Hanslick and others if the wrong idea is entertained that
this band was ridiciilously small.

— 100 —

Part I.

Grand Overture Haydn

Symphonie Stamitz

Grand Overture Schmitt

A Song Wolff

Violin Concert Schultz

Symphonie Lachnit

Part II.

Overture Martini

Flute Concert Phile

Song Wolff

Clarinet Concert A. Wolff

Symphonic Abel

Harmony music Phile

In view of such programs it is not surprising that Messrs. Gray's efforts
were appreciated by music lovers and at least one had the courage of con-
viction to express himself accordingly in the Pennsylvania Packet. He had
this to say "On the Gardens of the Messrs. Gray" :

Being well persuaded that great numbers of our fellow citizens acknowledge with
great esteem the merits of the Messrs. Gray, by procuring them in their delightful
gardens, a gratification which all the luxuries of a wealthy city could not bestow; and
being myself an enthusiastic admirer of the heartfelt charms of nature — I step for-
ward to declare our sentiments on this subject.

In every situation of life amusements are necessary to recreate our minds and
bodies after toil and anxious cares . . . Genuine music is also a very commendable
recreation, for it expresses and animates the sublime and pathetic affections of the
mind. Its powers arc so great, as in a high degree to influence the national character.
This has been the opinion of great legislators. From my own observations on different
nations and on divers classes, in the same country, I can affirm that popular songs
and favourite tunes are good indications of the people's character.

. . . Those who have not yet this season visited the gardens of Messrs. Gray, will
be pleased with some account of the late improvements. Several trees, shrubs and
flowers have been added to the grounds. A beautiful orchestra is built over the door
of the main building; from Avhich the sweet notes of music flow with ease through
the waving groves, and over the placid meanders of Schuylkill. The band is com-
posed of 9 or 10 instruments. The vocal part is made up of two male and as many
female voices, which perform well a variety of sentimental songs. On the front of
this orchestra is a painting of Handel, the celebrated musician, done by Mr. Witman,
a young artist and native of Reading ..."

For how many summers these concerts were continued I do not know,
but I am under the impression that music ceased to be a noteworthy feature
at Gray's Gardens in 1793.

That a demand was i7i the air for summer-concerts about 1790 is borne
out by the fact that a few weeks after Messrs. Gray had added music to the
attractions of their resort, George Esterley, proprietor of 'Harrowgate',
advertised under the catch-hne "Vauxhall Harrowgate" similar weekly
concerts with illuminations, etc. They were to begin on Saturday, August 29,
1789, "the vocal parts by a lady from Europe who has performed in all the

— 101 —

operas in the theatres Royal of Dublin and Edinburgh". Though Mr.

Esterley considered

"the rural situation and many natural beauties of Harrowgate ... so well knoA\n"

that he deemed a particular description nnnecessary^ yet he thought

it worth while to remark that

"it is decorated with Summer houses, arbors, seats, etc. and a large new house,
consisting of a number of rooms for large and small parties. The Mineral springs,
shower and plunging baths are in best order. A good and plentiful table with liquors
of the best quality; tea, coffee, fruit, etc.. . furnished on the shortest notice ..."

The lady engaged for the "vocal parts" was Mrs. Rankin but if her
fame was great , her duties at Harrowgate were light. At least^ if she was
not supposed to give innumerable encores in addition to the one solitary
song in every "part" of the concert as announced in the programs, f. i. on
Sept. 19th, 'Blythe Sandy', 'Had I a heart for falsehood train' d', 'The
lark's shrill notes', and 'Tally Ho'. The orchestral and concerted numbers
at Harrowgate consisted of such works as overtures by Abel, "full pieces"
by Fischer and others, concertos alid 'Martini's march'.

The concerts at Harrowgate continued regularly every season, at least

until 1796 for on Aug. 3, 1796, Claypole's Daily Advertiser printed a poetical

effusion "On Harrowgate. Written by Miss C. P. a young lady of sixteen

before she left the Garden", of which a few Hues may follow here as a warning

to other young ladies of sixteen:

"Nature and art combine, with graceful ease,
To elevate the mind, and please the eye;
There shrubs, and flowers, and interwoven trees,
And streams are seen, which murmur gently by.
The shady walks and artificial aisles,
And music whisp'ring thro' the verdant leaves.
The heart of every painful care beguiles.
And peace, and pleasure every object breathes."

A few weeks later, on Sept. 30th, Messrs. Bates and Darley of the New
Theatre informed the public that they had leased "the manor house and
grounds of Bush Hill (The property of William Hamilton Esq.)" and pur-
posed opening them by subscription in the following spring "for the general
accommodation and amusement of the public under the name of Pennsyl-
vania Gardens and Hotel" with concerts during the summer months "after
the manner of the pubhc gardens of Paris, Vauxhall, London etc." The
resort was actually opened on June 16, 1797 under the name of Bush Hill
or Pennsylvania Tea Gardens, but an unlucky star seems to have hovered
over the enterprise as already in December 1797 the partnership between
William Bates and William Darley was dissolved by mutual consent. May
be the fear of a second yellow fever epidemic was partly responsible for the
failure but as long as the concerts lasted they certainly must have been

— 102 —

quite enjoyable to judge from the "cast" as published in Porcupine's Gazette^
June 15, 1797:

"Vocal performers — Messrs. Darley, sen. ; Darley jun. ; Bates, and Miss

Broadhurst.
Instrumental — Messrs. Hopefield [Hupfield] Wolfe, Mucke, Homann, Brooke,

Shetky, Petit, Oznabluth [!], Morel, De Clary, etc. —
Organist, Mr. B. Carr."

Possibly it was Benjamin Carr's organ playing at these concerts which
induced John Mearns of the 'Centre House Tavern and Gardens' to add
in 1799 "to the entertainment which his house afforded ... at a very great
expense ... a Grand organ of the first power and tone, which [was to] be
played every Monday, Wednesday, and Friday evening during the summer".
It was John Mearns' ambition to produce his organ to an admiring assembly
on the Fourth of July, but he was disappointed "in getting his organ fixed"
and instead engaged "a complete band of Martial Music", which was
decidedly more in keeping with what his forerunners in the business used
to offer on Independence Day. In the following year Mr. Mearns further
imitated them by making concerts a regular feature at the Centre House
Gardens but the programs, as those of the first decade of the nineteenth
century generally, were rather "popular" in character. The program for
the Fourth of July, 1800 with which these remarks on summer - concerts
at Philadelphia may be closed, will illustrate this convincingly:

Act I
A Grand March.

Overture Graff

Song 'Louisa' Mrs. M'Donald

Favourite Air with variations Pleyel

St. Bride's Bells Mr. Hedderly

Act II

Duetto (Clarinets) Pleyel

Song 'Two bunches a Penny, Primroses' M. Donald

Grand Symphony Buck [Bach?]

President's March (Musical Bells) Hedderly

Song 'The Caledonian Laddie' Mrs. M'Donald

To conclude with a variety of pleasing airs and occasional songs. In the course
of the evening wiU be exhibited a representation of General Washington.

It will have been noticed that the concerts so far described were predomi-
nantly devoted to instrumental music and that vocal music was represented
only by some airs, popular songs, duets, glees or the hke. The reason for
this is not far to seek. Concerts of choral music require trained choruses
but of these Philadelphia could not boast until a few years after the war.
Of course, there were the socalled singing schools of olden times which
provided the churches of the city with a nucleus of ladies and gentlemen
fairly well grounded in church music, but from congregational and choir

— 103 —

singing, tliat is to say, from the usual psalms, hymns and anthems to can-
tatas, oratorios and secular choral works of larger compass is a wide step
and this step was impossible in America without choral societies. Now and
then men hke Wilham Tuckey of New York sought to overcome the ob-
stacles to the cultivation of choral music but their efforts were frustrated
by general conditions which allowed choral music outside of the churches
and their appendices the singing schools, to be cultivated only timidly.
That this situation was not to the taste of the more ambitious singing
teachers and choir masters goes without saying but few only possessed,
in addition to the ambition and possibly the talent of doing things, the
less common faculty to anahze conditions, to organize, and to know just
how to do things.

Among these very few men Andrew Adgate, whose career at Phila-
delphia came to an untimely end during the yellow fever epidemic of 1793,
certainly held a very conspicuous position as P. U. A., President of the
Uranian Academy, as he proudly added to his name on title pages of his
pubhcations. Adgate saw, and the historian must agree with him, that
for the time being the cultivation of choral music in general at Philadelphia
would closely have to be associated with a planful cultivation of church
music. Hence he founded early in 1784 by subscription 'The Institution
for the Encouragement of Church Music', also called in the newspapers
'Institution for promoting the knowledge of psalmody'. Properly a de-
tailed history of this institution belongs to the history of church music and
to the history of musical instruction in our country, but as "public singings"
formed a feature of the institution its career must also be outlined in a
history of our early concert-life.

As stated, Andrew Adgate founded his institution in 1784. From the
beginning it "survived on public bounty", a rather bold and optimistic
point of departure, it must be confessed. When on April 1, 1785 "the trustees
of the Institution for promoting the knowledge of psalmody, having per-
ceived great inconveniences arising from an indiscriminate assemblage of
persons at the pubhc singings" directed that admission tickets be prepared
for the subscribers, the affairs of the institution must have looked to out-
siders either very flourishing or very confused. Those who suspected the
latter were nearer the truth as on June 1st the trustees agreed to declare
the institution dissolved, the funds being exhausted. But Andrew Adgate's
resources evidently were not yet exhausted for on the very same day he
drew a wider "Plan of Mr. Adgate's Institution for diffusing more generally
the knowledge of Vocal Music" by estabUshing a Free School to this effect.
The plan met with the approval of several influential people and in the
Pennsylvania Gazette, Oct. 19th, signed Oct. 1st but headed "Philadelphia,

— 104 —

June 1, 1785" Adgate published his bold plan, of which the third para-
graph is perhaps the most important in this connection:

PLAN of Mr. Adgate's Institution for diffusing more generally the knowledge
of Vocal Music.

I. That persons of every denomination desirous of acquiring the knowledge of
Vocal Music, on application to Mr. Adgate, and agreeing to observe the regulations
of the institution shall be admitted without discrimination, and taught gratis^y^\ f<5

II. That in order to carry into effect this liberal design, subscriptions at eight
dollars be received and such other methods adopted as the board of trustees, here after
to be named, may devise.

III. That in compliment to the contributors of eight dollars, or more, the pupils
of this institution unite in giving twelve vocal concerts between the present time and
the first of June, 1786. ' -

IV. That subscribers of eight dollars be entitled to three tickets, which shall admit
one gentleman and two ladies, and subscribers of double the sum, to double the number
of tickets.

V. That as soon as a competent number of subscribers shall have entered their
names, a meeting of the subscribers shall be called, in order to choose three persons
as trustees, who shall to the best of their judgment appropriate the monies which
have been or may be subscribed, and make such further regulations for the better
government of the above-mentioned institution as to them may seem necessary.

Oct. 1, 1785.

It is hereby made known, that as the above recited Plan has met with great en-
couragement — that the subscribers thereto have elected trustees, and that under
their patronage IVIr. Adgate has commenced his instructions, at the University, to a
respectable number of pupils.

It is the object of the subscribers to establish a Free School for the spreading
the knowledge of Vocal Music; the trustees therefore invite every person who wishes
to be possessed of this knowledge to apply to Mr. Adgate at Mr. Conelly's in Second
Street, a little way North of Chestnutstreet, that his name may be entered as one
of the school, and his instructions commence, for which there will not be required of
him even the smallest compensation.

The more there are who make this appUcation, and the sooner they make it, the
more acceptable will it be to the trustees and teacher."

The institution soon, in fact already in 1785, became known as the
'Uranian Society' and as such it figured until reorganized in 1787 when
the name 'Uranian Academy of Philadelphia' was adopted. In some re-
spects the new plan as pubUshed in the Pennsylvania Mercury, March 30,
1787 is very much wider than the first and in others narrower. For instance,
whereas it provides for the instruction of three hundred pupils free of ex-
pense in three different schools, the number of pubUc concerts was reduced
to "at least" one annual concert the proceeds of which were to be turned
into an accumulating fund. The management lavs in the hands of 12 trustees
and "at least" twenty patrons, among whom we notice such prominent
men as Benjamin Kush and Francis Hopkinson. Even at the beginning
of the twentieth century the plan of the Uranian Academy will afford
interesting reading as it embodies ideas which only gradually have been
universally accepted and probably the document is the earUest on record

— 105 —

in our country wherein the necessity and advantage of making music "form
a part in every system of education" is clearly pointed out:

PLAN OF THE URANIAN ACADEMY proposed to be established at Phila-
delphia, for the purpose of improving Church Music; — and intended to be opened
on the third Wednesday of September, 1787.

Solemn music apjsears to have been used, from remote ages, in the worship of
Deity. It was early introduced into Christian societies; and, in most churches, it
still composes a part of divine worship. That such music may have its full effect,
it should be regularly and decently performed. But 'tis an art which, like every other,
demands time and pains to acquire ; and of which, very few can obtain even a tolerable
knowledge without the aid of a teacher. — Nevertheless, for the most part, people
have satisfied themselves with learning so much of it as they could catch in the
very act of performance in the churches.

It would seem that music should either be banished from places of worship, or
performed in such a manner as to engage our attention and animate us in the cele-
brating the praises of the Deity. To improve church music effectually, and render it
generally useful and agreeable, it seems necessary that it should form a part in every
system of education; for children can no more sing than read correctly, without
being taught. In conformity, therefore, to these ideas, it is proposed

I. That an institution, for the express purpose of teaching church music, be
established at which three hundred pupils may, and, if so many apply for admission,
shall be taught annually free of every expense.

II. That the name of this institution be, the Uranian Academy of Philadelphia.

III. That no appUcant be refused admission into their academy on account of
his religion or country; it is open and equally free to every denomination.

IV. That, for the convenience of the scholars, three places of instruction be esta-
blished, namely, one in some central part of the city, one near to or in the Northern
Liberties, and one near to or in the district of Southwark.

V. That, in order to give durable efficacy to the institution an accumulating
fund be formed, on which no draught shall be made, until the annual income thereof
be equal to the whole expense of annually instructing three hundred scholars, being
the complement projiosed in the first article.

VI. That to commence the formation of this fund, a grand concert be performed
some time in the present spring ; and afterwards for the purpose of increasing the fund
that at least one such concert be performed in every succeeding year.

VII. That, with the same view, subscriptions be received from those who are
disposed to encourage the establishment of this institution ; and, that every subscriber
of eight dollars, or more, be entitled to a vote at the election of trustees and patrons.

VIII. That, to give permanency to the good effects expected from this institution
and that the funds thereof may have greater security in their management, the trustees
shall apply to the legislature for an act of incorporation.

IX. That the academy be managed by 12 trustees who, for the 1st year, may
assume the trust; but afterwards be annually elected by the subscribers.

X. That besides the trustees, there be, at least, twenty patrons of the institution,
to be elected in like manner as the trustees, and to act with them as visitors, at the
quarterly examinations of the scholars, and as managers at the annual concerts; and
in general, to countenance and support the design.

XI. That the principal of the academy and his assistants be appointed and their
salaries fixed by the trustees.

Having attentively weighed the reasons for establishing an institution for the
purpose of improving church music, we are of opinion that it will be a beneficial in-
fluence on society and gradually effect an important and most agreeable change in that
part of public worship.

Actuated, therefore, by a conviction of its utility, we give it our fullest appro-

— 106 —

bation, and cheerfully undertake the trust and patronage of the institution during its
minority, and to act as managers, in its behalf, at the first proposed Uranian Concert.
The concert will be performed on Thursday the 12th of April, at the Reformed
German Church, in Race-street; a more particular account of which will be communi-
cated to the public previous to the day. It has been estimated that the church will
conveniently accommodate twelve hundred persons, exclusive of the performers; that
number of tickets therefore will be struck off, and no more. Checks for the tickets, at
1 s6 d each may now be had of Mr. Young, at the Southwest corner of Second and Church-
streets, and of all the managers. A few days before the performance, the checks must
be returned upon which the tickets will be delivered in exchange for them.

MANAGERS. '■■■ .

Patrons. — Robert Blackwell, Casparus Weiberg, James Sproat, John Ewing,
Samuel Magaw, Elhanan Winchester, Joseph Pilmore, Robert Mol5Tieaux, Benjamin
Rush, John Meder, Francis Hopkinson, Isaac Snowden, Geo. Duffield, John From-
berger, John Baker, Thomas Ustick, WilUam Young, William Sheaff, Joseph Turner,
Charles Pettit, Abraham CoUings, John Bayard, John Wood, Jacob L. Swyler.

Trustees. — Azariah Horton, John Andrews, Henry Helmuth, Joseph Ker, J. Swan-
wick, Samuel Duffield, Nathaniel Falconer, Samuel Miles, Jacob Baker, Gerardus
Clarkson, William W. Smith, Alexander Fullerton.

If the Uranian Academy did not floiirisli after 1787 as expected by the
managers^ certainly sensible theories Uke those embodied in their plan were
not responsible for the partial failure. Probably many citizens in addition
to the patrons and trustees were willing to subscribe to Adgate's reforma-
tory ideas but Philadelphia was not yet ripe for their apphcation on the
bold and broad hues suggested. A further obstacle to a lasting success pos-
sibly was encountered in the proverbial professional jealousy among musi-
cians. In this case the stumbling block was Alexander Juhan and it will
be seen that he and others, for reasons professional and personal, simply
refused to play under Adgate whose abiUties were confined^ as he said,
"to the humble province of Solfa teaching". Gradually Andrew Adgate
saw his energies reduced to their natural limits, that is to say, to the ma-
nagement and training of an efficient church choir.

As far as the concert Ufe of Philadelphia is concerned, his Institution
deserves lasting credit for he introduced choral concerts in Philadelphia
and the fact that about the time of his death and for several years after-
wards choral music was cultivated very timidly only, makes his enterprise
all the more conspicuous.

His concerts were given in the hall of the University of Pennsylvania.
Until June, 1785 they went by the name of 'Mr. Adgate's vocal music',
then as 'Mr. Adgate's V'ocal Concerts' and in 1787 they were styled 'Uranian
Concerts', thus conforming to the official name of the institution. How
many were given until June 1785 we do not know, but as on April 5, 1785
"several anthems and pieces of music [were to] be sung which have not been
performed at any of the former pubhc exhibitions" a certain regularity
might be inferred. Beginning with April 5th, they were to be on the first

— 107 —

Tuesday evening of every month. Owing to the exhaustion of the funds,

as announced by the trustees, this series came to an end on Wednesday,

June 1, 1785. The programs were not printed in the newspapers and the

only pertinent information is to be gleaned from the announcement of the

concert on May 3d:

"After a number of pieces (among which will be a Te Deum and several, not here-
tofore performed): the exhibition will close with the celebrated anthem from sundry
scriptures."

In accordance with Adgate's Plan of June 1st, published on Oct. 19th,
the new series of twelve "vocal" concerts began on that evening and was
carried through successfully, the last being held on June 7, 1786. At the
"opening exliibition" were performed as j)ieces de resistmice Bilhngs' "The
Rose of Sharon, which is an American composition in a style peculiar to
itself: — and the celebrated anthem from sundry Scriptures 'Arise, arise,
for the Hght is come and the glory of the Lord is risen upon thee, etc' "
If, mth the exception of the program of the twelfth concert, none were
printed in the papers this was due probably to the progressive idea, un-
common in the United States and still more so in Europe, of delivering a
"syllabus" with the tickets i). To further accommodate strangers and
"persons differently circumstanced"; subscriptions were received either
for the whole course or a single evening and if it rained or snowed the con-
certs were "put off till the next fair evening". The program of the twelfth
and last concert was thus announced in the Pennsylvania Evening Herald,
June 3, 1786.

Mr. ADGATE'S LAST CONCERT, consisting of vocal and instrumental music,
will be performed at the University, on Wednesday evening the 7th of June, beginning
at 8 o'clock. The pieces will, principally, be those exhibited at the late Grand Concert.

ORDER

Part I

1. An Anthem from the 118th Psalm

2. Easter

3. The Voice of Time

4. An Anthem from the 150th Psalm

5. An Anthem from the 122d Psalm

Part II

1. Instrumental only.

2. Washington

3. The Rose of Sharon

4. Jehovah reigns — from the 97th Psalm

5. Sundry Scriptures: 'Arise, shine, for my Light is
come', etc. (Greatly celebrated)

1) A system still prevaihng in the United States and so strikingly different from
that of Germany where generally the concert-goers are supposed to pay for the program.

— 108 -■

For some reason, however, tliis program was changed to the following i) :

1. Martini's celebrated Overture

2. An Anthem from the 18th Psalm

3. An Anthem from the 97th Psalm

4. A Violin Concerto by Mr. Juhan

5. An Anthem from the 150th Psalm

6. An Anthem from the 122d Psalm

7. The Rose of Sharon

8. A Flute Concerto by Mr. Brown

9. Hallelujah Chorus.

This was practically the same program as performed at the "Grand
Concert" on May 4th. Properly this musical festival, as we may call it,
belongs to the occasional benefit concerts, not yet considered, but as it was
given under the auspices of the Uranian Society, a detailed narrative follows
here in order to show what the society was capable of doing under Andrew
Adgate energetic leadership.

On April 20, 1786 the Pennsylvania Packet drew public attention to
the forthcoming event for which "the lovers of music, without'distinction
have generously volunteered in this service". Then on April 27th and on
May 1st full particulars were published which, I beheve, should be. re-
printed here in view of the singular historical importance of this truly
"grand" concert:

A GRAND CONCERT OF SACRED MUSIC for the benefit of the Pennsylvania
Hospital, Philadelphia Dispensary, and the Poor, for whom there has, hitherto, befen
no regular provision made — will be performed at the Reformed German Church in
Race Street, on Thursday, the 4th of INIay. The doors will be opened at half an hour ■
after nine o'clock in the morning, but not sooner, and the music will begin, precisely
at eleven o'clock, after which no person can be admitted.

ORDER AND WORDS OF THE MUSIC
I. Martini's Overture.
II. An Anthem from the 150th Psalm

"Let the shi'ill trumpet's war hke voice
Make rocks and hills rebound . . ."

III. An Anthem from the 18th Psalm by the Rev. James Lyon.

"The Lord descended from above . . ."

IV. Flute Concerto by Mr. Brown
V. The Voice of Time

'Hark! hark! Times hastes away' . . .
VI. An Anthem from the 97th Psalm, by Mr. Tuckey
'Jehovah reigns, let all the earth
In his just government rejoice . . .'
VII. A VioUn Concerto by ]\Ir. Juhan
VIII. An Anthem from the 122d Psalm by A. Williams.
'I was glad, when they said unto me . . .'
IX. An Anthem, from the 2d of Solomon's Song, by Mr. Billings.

'I am the Rose of Sharon, and the lily of the vallies . . .'

1) Pa. Journal, June 7, 1786.

— 109 —

X. Hallelujah Chorus from the Messiah, Handel

'Hallelujah — (often repeated) — For the God omnipotent reigneth,

Hallelujah, etc . . .'
Tickets at five shillings each are to be had of Mr. Young, at the Southwest corner
of Second and Chestnutstreets, and of all the managers. To prevent confusion, care
has been taken that the number of tickets struck off, should not exceed the number
of persons who, by estimation, can be accommodated at the place proposed. Correspon-
dent to this idea, all who apply for tickets will have a right to be supplied, 'till the
whole number prepared is exhausted, after which it will be out of the power of the
managers to furnish more. And upon the same principle, on the morning of the exhibi-
tion, the persons supplied v>'ith tickets, as they successively offer themselves, will be
introduced to their seats. Indeed it is the desire, and will be the endeavour, of the
managers, to have the whole of this business conducted with that decency and dignity,
which its nature and design seem to require.

To administer some relief to him whose hope is like a shadow, to raise up him
who is bowed down with sorrow, and to shew that the fine Arts may and ought to sub-
serve the purjioses of humanity are, we believe, the views with which the performers
have voluntarily, offered their service on this occasion. Under a full conviction of
their motives being such, and as the highest proof of our approbation, we have, chear-
fuUy, complied with their request and agreed to act as

MANAGERS.

For the Hospital Trustees' of the Musical Institution

Reynold Keen George Nelson

Nathaniel Falconer Azariah Horton

Wilham Hall Joseph Kerr

For the Dispensary From the Trustees of the University

WiUiam White Francis Hopkinson

Henry Hill Of the Reformed German Church

Samuel Miles ' Casper Wynberg.

Historically speaking, this concert belonged to the most ambitious
artistic events which our country had witnessed during its relatively short
musical life. It is one of the few concerts that attracted the attention of
historians, but blinded by prejudice or being hampered in their judgment
by the rather naive impression as if such undertakings were possible without
a logical evolution of conditions, they have referred to it as they would to
a soKtary palmtree in a desert. Such a standpoint is, of course, just as
untenable as would be the notion that such "feasts of harmony" with a
chorus of 230 and an orchestra of 50 were daily occurrences in the musical
life of byigone generations. The public of Philadelphia, though accustomed
to noteworthy musical entertainments, was fully aware of the unusual
scope of Andrew Adgate's festival and quite in keeping with this attitude
was the attention which it found in the channels of public opinion. The
professional music critic, to be sure, had not yet made his appearance and
in our newspapers as in those of Europe, concerts were treated rather in-
differently by the editors. On this special occasion, however, the editor
of the Pennsylvania Packet was so deeply impressed with the boldness,
magnitude and success of the charitable enterprise that, contrary to all

— no —

traditions, he reviewed the concert at length and with a minuteness fore-
shadowing the future of musical criticism. The report not only reveals the
deep impression made by the concert but incidentally throws Ught upon
its history and therefore must be considered a noteworthy historical do-
cument. It was thus published in the Pennsylvania Packet — and this is
also an interesting side-hght on the methods of journaUsm of yore — not
immediately after the concert but on May 30th:

"Philadelphia, May 30.

On Thursday, the 4th of May, at the Reformed German Church, in Race Street,
was performed a Grand Concert of Vocal and Instrumental Music, in the presence of
a numerous and polite audience. The whole Band consisted of 230 vocal and 50 instru-
mental performers;!) which, we are fully justified in pronouncing, was the most com-
plete, both with respect to number and accuracy of execution, ever, on any occasion,
combined in this city, and, perhaps, throughout America.

The first idea of this concert was suggested to the trustees of the Musical Insti-
tution by the Commemoration of Handel in London and the Sacred Concert in Boston.
It was planned in January last, and a series of preparatory measures pursued till its
accomplishment. The morning, which had been previously announced in the public
papers for this exhibition, having arrived, the doors of the church were opened punctu-
ally at the time proposed, the audience were successively conducted to their scats,
and the performers took their several stations, the whole of which was done without
noise or the least apparent confusion. ' At 11 o'clock the doors were shut, and, after
a dead silence of about 5 minutes, this feast of harmony began with Martini's famous
overture, which was performed with such a propriety of expression that, could the
author himself have been present, he would not have thought his composition dis-
graced, or, the ideas he intended to convey, misunderstood. —

Then followed a succession of celebrated anthems, which were performed with
a precision and effort sufficient to enforce powers of harmony on the most untutored
ears, between the anthems the force of the band was interrupted and contrasted by

1) A chorus of two hundred and thirty voices was enormous for a city of Phila-
delphia's size considering the fact that a chorus of about 275 voices only was employed
during the Haendel Commemoration in Westminster Abbey May 26-29; June 3 and 5,
1784. It is also interesting to note that the proportion between orchestra and chorus
at Philadelphia was about the same as is nowadays inflicted on us at Haendel festivals
whereas in London in 1784 about 250 instrumentalists (among them of musicians
who subsequently left their mark on music in America, Gillingham, Reinagle, Gehot,
Pick, PhilUps, Mallet, R. Shaw) sat in the orchestra according to the list given in Bur-
ney's accovmt. Originally — and tliis would have been the other extreme — an orchestra
of 400 performers had been planned as "it was determined to employ every species
of instrument that was capable of producing grand effects in a great orchestra and spacious
building". With naive pride Burney added that only one general rehearsal for each
day's performance was held "an indisputable proof of the high state of cultivation
to which practical music is at present arrived in this country".

This and all similar Handel Commemorations may safely be put down as monstro-
sities and we need but read the diplomatic letter of Count Benincasa in which he com-
municated to Burney some requested statistics on the monstre -performances in the
conservatories of Venice, to see that not every lover of music was overly impressed
by the bigness of the affair. Finally it is interesting to compare the forces orchestral
and vocal massed in honor of Haendel at London with those who performed the Messiah
in the Domkirche Berlin, May 19, 1786. On this occasion, as we know from Hiller's
'Nachricht' the orchestra mustered besides the conductors 78 violins, 19 violas, 12
oboes, 12 flutes, 8 horns, 6 trumpets, 4 bassoons and two pairs of kettledrums, in all
141 performers, against a chorus of a trifle more than 100 voices.

— Ill —

two solo concertos. The first by IVIr. BrowTi whose power over the German flute has
astonished Americans, and would give additional grace -to any royal band in Europe ;
the second which was a violin concerto, by Mr. Juhan, who not only displayed the most
promising talents, but a taste and execution which did him present honor and gave
acknowledged satisfaction.

The whole concluded with the exertions of the full band in the performance of that
most sublime of all musical compositions, the grand chorus in the Messiah, by the
celebrated Handel, to these words 'Hallelujah ! for the Lord God omnipotent reigneth', etc.

To the skill and attention of Mr. Adgate, in training and instructing the voices,
and of Mr. Juhan, in arranging and leading the instruments, may be attributed that
forcible and uniform effect so manifestly produced throughout the exhibition. The general,
and, for any thing known to the contrary, iinanimous approbation of the audience,
concided that this rational and exalted entertainment interested, and, as it were,
swallowed up the attention of both hearers and performers and had, therefore, its full
effect on the feelings of both.

The decorum and method observed in conducting the whole harmonized with the
precision and order necessary to the perfection of a musical performance. No interrup-
tion from within, no disturbance from without, prevented the full enjoyment of this
Grand Concert. — The measures which had been judiciously planned, and which were
so punctually executed by those who had undertaken that duty, effectually prevented
every disagreeable circumstance, Mhich otherwise, by creating inconvenience and
uneasiness, might have occurred to mar the entertainment.

Nearly one thousand tickets were sold; at two thirds of a dollar each, and the
nett proceeds, after deducting for necessary expenses, have been delivered to the mana-
gers of the Pennsylvania Hospital, Philadelphia Dispensary and Overseers of the Poor,
to be applied by them for the use of said institutions and unprovided poor.

The managers and overseers of these charitable establishments (who were not
concerned in conducting the concert) as well wishers to humanity, return their sincere
thanks to every person who had any share in this act of benevolence ; — to the trustees
of the Musical Institution, who laid the foundations of this benefaction, and esta-
blished so uniform a system, as carried on the face of it a full conviction of the practica-
bility of what was intended; — to Mr. Adgate and Mr. Juhan, whose abilities enabled
them to foresee and provide against every difficulty, and to move this complicated
machinery, as though it had been one entire piece, either in solemn and majestic dignity,
or quick and animating measure, so as to produce in the result, such ideas of admira-
tion and sublimity as nothing but itself could excite; — to the ladies and gentlemen
in general, who, as performers, volunteered in this service, arising, thereby, superior
to all local prejudices, and showing how easy it is to distinguish between an action
that is truly commendable and the contrary ; — to the pupils of the Musical Institution
who have given such an incontestible proof of their proficiency in this pleasing art ; —
to the managers of the concert, who have shown, by example, how easy it is to conduct
an exhibition of this kind with perfect order and decency ; — and particularly Reformed
German Congregation, who with such prompt chearfulness and perfect unanimity,
lent their church in the Cause of Humanity.

If we were to trust this silvertongued report, nothing occurred to throw
a discordant note into the arrangement and management of this Grand
Concert, but there never yet was a musical festival without friction and
Philadelphia's May Festival of 1786 offers no exception to the rule. Mu-
sicians will quarrel and it is a seven day's wonder if two musicians called
upon to co-operate and share alike in the honors do not afterwards give vent
to fits of professional jealousy. In this instance, the culprits were the very
men to whom the Pennsylvania Packet attributed the artistic success of

— 112 —

the concert^ but it must be said in fairness to Andrew Adgate tbat Alexander
Julian was the aggressor.

In accordance with the "Plan"^ the promoters of the Uranian Academy
made the necessary preparations for their first proposed Uranian Concert,
and fixed the date for April 12, 1787. Probably because it became known that
he was not wilhng to co-operate, Alexander Juhan took occasion to send
to the Pennsylvania Packet on April 5th a letter stating his reasons and
in which he left no doubt of as to his professional contempt for Adgate.
Said he:

As every man who depends upon the public patronage is responsible to the public
for his conduct, and cannot, in any degree, oppose their wishes and pleasure, without
essentially counteracting his o\vn interests, the subscriber thinks it his duty to state
the reasons that have induced him to decline any part in the concert, intended to be
performed at the Reformed Church, in Race-street, the 12th instant.

The applause of some who perhaps have more regarded his desire to please than
his power and the encouragement of others, who, thinking they discerned some talents,
meant to excite a professional emulation, have certainly sofar elevated the subscriber
in his o^\^l opinion that he rates himself superior to the instruction of a person, who,
with little knowledge in the theory, is confined in the practice of music to the humble
province of Solfa. The subscriber candidly acknowledges therefore, that one reason for
his declining to attend at the approaching concert, arises because the direction of the
performance is confided to a gentleman whose abilities, however great in most respects,
he deems very inadequate to a task, upon the execution of which, not only the com-
bined force and harmony of the baud, but likewise the skill and reputation of every
individual must considerably depend.

Another, and a very forcible reason for the subscriber's conduct upon this occasion,
is the neglect of consulting the principal performers as to the pieces of music, and the
arrangement of the band. Those who are in the habit of public performance will select
such pieces as (either for their intrinsic merit or the superior dexterity with which
they can be executed) are most calculated to communicate pleasure and to command
applause. It would surely therefore have improved the general effect of the enter-
tainment, and could not have been considered as a very extraordinary indulgence,
had those who were best able to determine upon the respective powers of the perfor-
mers, been invited to select the music and to suggest what could be attempted with the
greatest probability of success.

There were other motives of a more personal nature that operated with the sub-
scriber. In consequence of his attention to the rehearsals of the last grand concert
in May 1786, he had unavoidably suspended his attention to his scholars, which exposed
him to some reproach and to a considerable pecuniary loss ; — and in consequence of
his exertions on the day of public performance, he was attacked by a violent fever,
which confined him for several weeks to his bed.

Upon the whole, the subscriber hopes that as he could not consistently with his
reputation, his interest or his health, engage in the concert under the direction of Mr.
Adgate, the public will determine that he has most wantonly sacrificed to those con-
siderations, the honor of contributing to their entertainment, but will still regard him

Most grateful and
Most devoted servant

Juhan.

Had this ill-timed and ill-mannered attack, so characteristic of a vir-
tuoso and illustrating the struggle in those days for supremacy between the

— 113 —

conductor and leader, contained the whole truth, it might have had a detri-
mental effect upon the concert, but Adgate immediately replied in a dignified
tone and by referring to witnesses of a certain conversation with Juhan,
he probably turned the tables against his opponent. He had this to say
from his standpoint on April 7th in the Packet:

Mess'rs Dunlap & Claypoole,
Before the Plan of the Uranian Academy was drawn and before one step was taken
toward carrying the intended concert into effect, three months ago, at least, I men-
tioned to Mr. Juhan that I had it in view to establish an institution, at which the poor
might be instructed in church music, free of expense ; and, as the first measure to be
taken toward accomplishing this, to have a concert performed, similar to that of the
4th of May last. I introduced the subject that I might have the opportunity of con-
sulting him thereon and engaging him as a principal in carrying the concert into effect.
His answer to my proposition, as offered to him in general, was immediate and in-
equivocal! — ''We have agreed not to play any more for the poor.'" This peremptory
declaration, at the very introduction of the business, foreclosed effectually all consul-
tation. I believed Mr. Juhan, and, in consequence, took my measures, independently
of him, as well as I was able. Several persons were present when this conversation
hajjpened and recollect that the answer was as here related. I have taken notice of
Mr. Juhan's publication, merely to state this fact, relative to consultation, just as it
occurred: — he had an undoubted right to be the sole judge of what would contribute
most essentially to his interest and health.

Andrew Adgate.

In the meantime, on May 30th, the Pennsylvania Mercury had printed
in full the Plan of the Uranian Academy, signed by all the managers and
trustees and it is delightful to see how seriously these gentlemen took a task
which to-day would cause the managers of a similar festival httle worry.
Perhaps Adgate and the many prominent gentlemen whom he had interested
in his project also considered it proper to imitate the managerial details
of the Handel Commemoration of 1784 as closely as circumstances would
permit. At any rate they set forth rules and regulations enough to overawe
any audience as to their managerial problems. To us their methods may
seem amusing but they are also instructive as they show how things were
done in those days and that they were done very much in the same manner
as to-day, even if with business-methods a trifle more complicated.

Some instructions were contained in the 'Plan of the Uranian Academy'.
On April 9th, the Pennsylvania Packet further announced that with each
ticket would go

"a Syllabus, containing the order and words of the pieces to be performed . . .
the tickets which remain, after satisfying the checks may likewise be had of Mr. Young
and of all the managers."

Finally on April 11th, in the Pennsylvania Herald:

"for the information of those who propose to attend it, the following particulars
arc made known:

Souiicck, Early Concert Life. 8

— 114 —

I. That the church has four doors: — two, fronting Race Street: and two, opposite
to them, on the south side of the church.

II. That the Eastermost door on Race Street (or that nearest to Third Street)
is for the admission of 'performers only; and that the three other doors of the church
are for the admission of the audience.

III. That no persons of any age whatever, can be admitted without a ticket.

IV. That the tickets, presented at each door, will be received by two managers,
appointed for that purpose, and the persons who present them, conducted to their
seats agreeably to their own choice.

V. That no tickets will be sold or money received at the door.

VI. That the doors will be opened, precisely at half after 9 o'clock in the mor-
ning; and shut, precisely at 11 o'clock: immediately after which the entertainment
will begin."

Though these six paragraphes permit of some speculation^ especially
whether the door remained shut or not to late- comers, whether all persons
were conducted by the volunteer ushers to their seats really agreeably to
their own choice, and so forth, the audience, once seated with syllabus in
hand, probably was good-natured enough to forget personal grievances
when at 11 o'clock on April 12, 1787 the Kev. Dr. Andrews, President of
the Uranian Academy, arose to open the First Uranian Concert with a
prayer. Then followed a program, interesting in several ways. Though
copies of the printed syllabus are still preserved, one for instance at the
Library of Congress, it is only fair to reprint it here from the Pennsylvania
Packet, April 9th, in appreciation of the great services rendered by the
press to the promoters of the concert.

SYLLABUS

Authors
I. Martini's celebrated Overture
II. Jehovah reigns: an anthem from 97th Psalm Tuckey

III. Te Deum laudamus Arnold

IV. Violin Concerto ..' By IVIr. Phile of NewYork

V. I heard a great Voice: an Anthem fromRev.XIV BiUings

VI. Vital Sjjark: an Anthem on IVIr. Pope's ode

'The dying Christian to his soul' .. .. BiUings

VII. Overture in Artaxerxes Arne

VIII. Friendship thou charmer of the mind: From

Watt's Lyric Poems Lyon

IX. The Rose of Sharon: an Anthem from 2d of

Canticles BilUngs

X. Flute Concerto BytheChevalierDuPonceau

XL Sundry Scriptures: an Anthem on the Nativity

of Christ WiUiams

XII. The Hallelujah chorus: on the extent and du-
ration of CTirist's Government (from the
Messiah) Handel

At first glance this program may seem not only drawn-out but too mis-
cellaneous, on the order of the so called "oratorio", but quite apart from the

— 115 —

fact that many European programs of the time, for instance those of the
Handel Commemoration, and far into the nineteenth century . showed a
similar tutti frutti tendency and that it is therefore uncritical to sneer at
this particular program as has been done, it possesses one very strong feature
of redemption and indeed the one which has been ridiculed. Nobody, in
his right senses, will claim that Wilham Billings and James Lyon were
masters or even composers with a satisfactory knowledge of musical grammar
(though for many of their errors the engravers are to be held responsible
and not they), but they represented native art and native art will never
develop, mature and flourish unless encouraged as a matter of principle.
To-day, it often seems a matter of principle with conductors to push American
music into the background on the not always convincing presumption that
it amounts to nothing if compared with (frequently questionable) European
importations. It is a lamentable fact that our representative composers,
granting that of late years a sudden change to the better is noticeable, do
not meet with the same encouragement as in the eighteenth century though
they have ceased to be crude amateurs and possess, if nothing else, a tech-
nical skill equal to that of their European competitors.

Whereas, in its mixture of American and European elements, the program
of 1787 presents nothing unusual for that period, the fact that the syllabus
was followed for the benefit of the public by a curious kind of "Remarks"
was perhaps unprecedented. When the idea gained root to add to programs
for the benefit of audiences commentaries descriptive of the works to be
played has not been settled but, as was said, the "Remarks" following the
syllabus for the First Uranian Concert on April 12, 1787, appear to be the
earliest example of annotated programs in America, In an embryonic
form, of course, for the naive commentary, as quoted below, is as far from
the concise notes of a Henry Edward Krehbiel as from the encyclopaedic,
sharp-witted annotations of Philip Hale, though, on the other hand, it is
just as acceptable as the over-technical descriptions to which the modern
music-lover frequently is exposed. The Packet treated its readers to "Re-
marks" on all the numbers presented but whereas, for instance, James
Lyon's Hymn to Friendship was deemed worthy only of a few general hints
like "A cheerful air", "Very plaintive", "Lively" this amusing yet serious
tribute of respect was payed to

The HALLELUJAH CHORUS from the IMessiah. By Handel.
(Introduced by three bars of Lastrumental ]Music)

Remarks
Hallelujah: (Repeated often)

For the Lord God omnipotent reigneth: [Here the voices unite]
Hallelujah: (several times)

For the Lord God, etc. [By the Counter, Tenor and Bass]

— 116 —

Hallelujah: (several times) ,

For the Lord God, etc. [1st, by the treble; 2d by the tenor

and bass, and then by the counter
and tenor, whilst the other parts,
through the whole of this passage, are
repeating Hall, in every variety.

The kingdom of this world, is become

the kingdom of our Lord, and of his Christ [Chorus]

And he shall reign for ever, etc. [A beautiful fugue]

King of king, and Lord of lords: [By the Treble and Counter in long

notes; whilst the tenor and Bass
repeat 'for ever and ever, Hal.' in
quick notes with intervals]

King of king, and Lord of lords : [Two or three times in very low notes ;

by the Tieble : whilst the Counter,
Tenor and Bass are repeating, 'for
ever and ever, Hal. ' often, in quick
notes, with intervals: The effect
is wonderful.

And he shall reign for ever and ever (often)

King of King, and Lord of lords: [Several times: the harmony very

full]

And he shall reign, for ever and ever, Hal. [often : the last Hal. very slow]

Nowadays we expect to read an instructive and fairly unbiased review
even of the heaviest program within twenty-four hours after the perfor-
mance. In olden times journahsm moved more slowly and it made little
difference to the pubhc when they received the news as long as they received
it in somewhat stilted and grandiloquent language. To this rule the Penn-
sylvania Packet X)ffered no exception. Not until April 23 was the First
Uranian Concert reviewed and then in such a manner as happens now only
if the sporting-editor of a provincial paper is suddenly detailed to turn a
few handsome but non-committal sentences on a concert at wliich he felt
utterly out of place. This "will strike every considerate mind with peculiar
force" when reading what the Packet had to report on said April 23d:

Philadelphia, April 23.

On Thursday the 12th instant, was performed at the German Reformed Church
in Race street, the Uranian Concert. — It was opened with an excellent prayer, well
suited to the occasion, by the Rev. Dr. Andrews. The pieces being chiefly Sacred
Music, and the object of the whole being 'the founding of an institution for improving
such music throughout all the churches 'the propriety of consecrating the design in
this manner, will strike every considerate mind with pecuhar force.

The Entertainment began precisely at 11 o'clock in the forenoon, and continued
about two hours. The audience and performers, together, consisted of 650 persons,
who will ever be considered as the original Benefactors and Founders of the Uranian
Academy.

To go thro' the comparative excellence of the pieces and merits of the performers
is certainly unnecessary ; — for if the general opinion of those who were present on the
occasion, may be rehed on, the whole of the performance taken together, was more

— 117 —

complete and perfect in its execution, and the effect more decidedly pleasing than
anything of the kind, ever exhibited in this city."

To have entertained only 650 "benefactors" minus the performers,
instead of 1200, as evidently anticipated, must have been disappointing
to the managers of the Uranian Academy. However, they were not dis-
heartened as they advertised their second Uranian Concert, presumably a
repetition of the first, for April 31st, but beyond the fact that it was post-
poned to May 7th 1), that it was to take place at the University Hall at
precisely eight o'clock, all references to the concert escaped me.

The next annual concert for the benefit of the Uranian Academy was
given on April 30, 17882). The advertisement, though not mentioning the
program, is of some interest as it shows the beginning of a managerial
detail which, in a modified form, became a universal custom. The innova-
tion consisted in this that "red tickets", at a quarter of a dollar each "ad-
mitted the bearer" to the east wing of the gallery in the hall, opposite the
performers, and the "black" at one eighth of a dollar to the lower part of
the house. Of real historical importance is the fact that, according to this
advertisement, Andrew Adgate's Plan was actually carried out, at least
to a certain extent, as "the Uranian Academy was opened in Lodge Alley"
on April 2, 1787. The twelve trustees and twenty-four patrons, in order to
stimulate public interest, solemnly announced that they "on this and on
future occasions, [would] countenance the young performers, hy attending
their exhibitions in procession^\

Did some future occasion present itself to the thirty-six gentlemen for
fulfilment of their pledge? I have been unable to ascertain this as the
name of the 'Uranian Academy' disappears from the papers; the adver-
tisement excepted in which Adgate notified the public that he had copy-
righted in 1790 in the District of Pennsylvania his 'Rudiments of Music',
styling himself on the title-page P. U. A., evidently, President Uranian
Academy. However, the institution continued to exist for a number of
years. We know this from Scharf and Westcott's History of Philadelphia
where it is claimed in a comprehensive but not always reliable chapter on
'Musicians and Musical Societies' that the "Uranian Society . . . continued
its meetings until after 1800", at the 'Uranian Rooms', corner of third
and Market Streets. In the same voluminous work a "hall of the Uranian
Society, South Fourth Street" is mentioned for the year 1805. Consequently
the Uranian Academy or Uranian Society, whatever the name finally might
have been, remained active for more than a decade after Adgate's death

1) Pa. Packet, May 3, 1787.

2) Pa. Journal, April 30, 1788.

— 118 —

but presumably it had more or less narrowed down to its natural field of
activity, the training of one or more particular choirs. Indeed it will be
seen presently how "Mr. Adgate's Choir" assisted at a concert in 1790.

Without doubt Andrew Adgate, whose ambitious career came to an end
in 1793 during the yellow fever epidemic, was an acknowledged leader in
the movement for vocal music and especially in 1788 his services were re-
peatedly required. For instance, the Independent Gazetteer, on August 5,
1788 in a report of the Commencement Exercises at the University of Penn-
sylvania, July 30th expressed the university's great obligations to Mr. Adgate
for conducting the "sublime musical selections vocal and instrumental",
"to the gentlemen who assisted him, hut 'particularly to the young ladies'\

Adgate was also in charge of the music at a curious entertainment ad-
vertised in the Pennsylvania Journal, April 2, 1788 in the following manner :

On Saturday, the 5th of April, in the Hall of the University, Mr. Ely's school
will have a public exhibition, consisting of Vocal Music. Introductory address. A variety
of declamatory pieces and dialogues. The Messiah., a sacred poem, to be spoken by
twenty boys, in white robes, who will all speak in unison. Tlie whole will be interspersed
with vocal music, suitable to the occasion, and close with the favorite anthem, the Rose
of Sharon.

The Music in the gallery will be under the direction of Mr. Adgate. Ladies and
gentlemen, who will be so kind as to favor this infant exhibition with their notice,
may procure a syllabus (containing the order in which the pieces are to be delivered)
of Mr. Ely, in Fifth street, the fifth door above Cherry alley, between Arch and Race
streets. The exercises will begin at three o'clock in the afternoon.

N. B. The syllabus shoT;\-n at the door, will admit the bearer without which, ad-
mittance cannot consistently be granted, i)

The "Rose of Sharon' was, of course, by Billings whose predominating
influence was just beginning to wane, at least, outside of the church. This
is easily understood. About 1790 the influx of skilled European musicians,
destined to revolutionize our musical life mainly to Its advantage but in
certain respects also to its disadvantage, widened into an ever broadening
stream. That such men as Reinagle, Hewitt, Carr, Taylor who brought
with them an intimate knowledge of the best music of their age, did not
take friendly to the crudities of Billings and our other early church com-
posers goes Avithout saying and as they now began to shape the destinies
of our concert-hfe naturally a change in the vocal numbers on the programs
soon made itself felt. This change is dimly perceptible in a program as
announced in the Pennsylvania Packet, July 14, 1790:

1) Mr. John Ely's school probably was a private school, but in the next year (see
Pa. Packet, Oct. 31) he advertised under the head of 'Psalmody' that he had opened
a 'Singing School in the Schoolhouse adjoining to Archstreet church, which he "pro-
posed to continue four evenings in the week until the first of May". The school was
"intended solely for the improvement of church music" and "such tunes only" were
to be taught as were "most approved by the different churches" in the city.

— 119 —

For a Benevolent Purpose.
A Grand CONCERT OF SACRED I\IUSIC, is intended to be performed at the
Coffee House in Fourth Street this evening; the 14th of July 1790. To begin precisely
at Seven o'clock.

Part I.

1. Grand Overture

2. Solo — Comfort ye, comfort ye, my people, etc. from the Messiah — By Mrs.

Henry.

3. Chorus — Te Deum etc. from Arnold — By Mr. Adgate's choir.

4. Solo Anthem — O Lord! whose mercies numberless, etc. By Mr. Blagrove.

5. Solemn Concerto

6. Rejoice greatly, O Daughter of Zion, etc. from the Messiah — By Mrs. Henry.

7. Chorus — I was glad, etc. from Williams — By Mr. Adgate's choir.

Part II.

1 . Overture

2. Solo — Pious orgies, pious Airs — By Mr. Blagrove.

3. Chorus — Arise, shine etc., from Williams — Mr. Adgate's choir.

4. Solo Anthem — Acquaint thyself with God, etc. from Dr. Green — By. Mr.

Blagrove.

5. Solemn Concerto.

6. Solo — I know that my Redeemer liveth, etc. from the Messiah — By Mrs. Henry.

7. Grand Hallelujah chorus, from the Messiah — By Mr. Adgate's choir.
Tickets for admission to be had at Mr. William Prichard's book-store, in Market

Street — One Dollar each.

Strange to say, though announced as late as the day of performance to
take place at the Coffee House, the concert really was given in the hall of
Pennsylvania University. It would be interesting to know the method
used to acquaint the subscribers of tliis change in time enough to avoid
confusion, disturbance and disruffled temper.

If we may trust the criticism as it appeared on July 15th in the Federal
Gazette, the concert must have been so superlatively wonderful that the
"souls soared upon the wings of melody to its kindred skies". It is clear
that such fascinating sentences never could have been penned by a profes-
sional critic, bred to stern economy of space and praise, and indeed it was
not, unless the Pennsylvania Packet which printed literally the same en-
thusiastic rhapsody enjoyed a joint-ownership of this anonymous critical
genius with the Federal Gazette. More likely, and quite in keeping with
the habit depending upon a 'Brutus', 'Flavins', 'Censor' among their readers
for political editorials, the papers simply pubUshed a report offered by
some prominent music lover among their subscribers. For the benefit of
such critics who will welcome an opportunity for replenishing their outworn
vocabulary, the criticism of our anonymous who well might have signed
himself 'Caecihus', 'Stentor' or 'Philomusicus' follows here in full:

GRAND CONCERT OF SACRED MUSIC. Performed yesterday evening in the
College Hall.

In vain might we attempt to express the pleasing emotions which we experienced
on this delightful occasion. The most glowing language would but debate the subject.

— 120 —

The refined feelings of a large and respectable audience can alone do justice to the
merits of the performers. Never were the charms of vocal and instrumental music
more happily united. The soul, attuned to harmony, forgot for a moment its earthly
fetters, and soared ujion the wings of melody to its kindred skies. The "heaven struck"
imagination was transported far beyond the limits of mortality, by the Grand Overture
with which the oratorio commenced: nor was it suffered to flag during the evening;
on the contrary, it received fresh inspiration from every succeeding part of the per-
formance, and winged its way to regions still more exalted till the sublime Hallelujah
Chorus closed the enchantment.

Were we acquainted with any language which could paint the transports of the
music enraptured soul, how grateful would be the task to convey to others an adequate
idea of the delightful sensations which thrilled through every bosom, and smiled serene
on every countenance! How happy should we be to descend to particulars, and to
pay a due tribute of applause to those, whose musical skill and benevolent dispositions
contributed to furnish such an exquisite feast.

Never in our opinion, were the vocal powers of Mrs. Henry cUsplayed to better
advantage. That lady has long attracted the admirations and esteem of the pubUc.
Her fascinating voice has long afforded delight to the friends of music and the drama.
She has now given a pleasing proof of her excellence in Sacred Music. She has also
evinced a generous disposition by coming forward on this humane occasion. Such
nobleness of sentiment, such benevolence of mind, must endear her still further to
the discerning and grateful citizens of Philadelphia.

Of Mr. Blagrove what shall we say? How express the delightful sensations which
his beautiful anthems excited in every breast? How describe the judicious exertions
of his excellent voice? — We dare not attempt it.

Too much praise cannot be given to M. Adgate and his choir for their exertions
on this occasion. The whole of their part was well performed; the Hallelujah Chorus
in particular was truly sublime.

The band consisted of about 20 private gentlemen to whose musical skill we were
indebted for much of the magnificence and grandeur of the entertainment. We
cannot conclude without paying a compliment to the judicious taste and benevolence
of our citizens who countenanced this delightful undertaking, from the noblest of mo-
tives, a benevolent regard towards merit in distress.

Hardly had the waves of raptures passed through our amateur- critic's
breast when an 'Oratorio of Sacred Music' given at the College Hall for
the benefit of 'Holy Trinity Church' at 7 o'clock P. M. September 22, 1790
might have tempted him to express the same pleasing emotions which he
experienced on July 14th. The program was of the usual "oratorio" order
and together with the cosmopolitan character of the performers will be
noticed the fact that Adgate had found a rival in the person of
Mr. Heim:

Part I

1. Grand Overture

2. Chorus: 'Worthy is the lamb' ... by Mr. Heim's Choir.

3. Solo on the Clarinett. By Mr. Wolff

4. Solo — 'As pants the heart for coohng streams' by a young lady.

5. A Sonata on the Piano Forte. By Mr. Reinagle.

6. A Solo — 'O Deus, ego amo te' — By Madame de L'Isle

7. Chorus — 'O thou to whom all creatures bow'. The Solos by a young lady,

with a Hallelujah Chorus: By Mr. Heim's choir.

— 121 —

Part II

1. Overture

2. Chorus — 'So angels sing'. By Mr. Heim's clioir.

3. Solemn Concerto.

4. Solo — 'Jesu dulcis memoria". By Madame de I'lsle.

5. A Concerto: By Mons. Emanuel.

6. Te Deum, including two solos, the first by Mons. de I'lsle, the other by Ma-

dame de risle.

This concert was followed on November 2di), by a "Vocal Concert at
the Hall of the College" at which instead of charging admission "a collection
[was] received after the concert for defraying the contingent expenses" and
then the Pennsylvania Packet announced on November 16th the first of
a series of six subscription-'' oratorios'" ! It was again intended for the
benefit of the Holy Trinity Church and took place on November 19th at
the College Hall. The program reads:

Part I

1. Grand Overture

2. Chorus 'Glory to God in the highest' — By Mr. Heim's Choir.

3. Solo on the clarinet — By Mr. Wolff

4. Solo, 'To God the mighty Lord' — By a young lady.

5. A Quartetto Violino.

6. Solo, 'Comfort ye my people' — By a young lady.

7. Chorus 'Grateful notes and numbers bring' — the solo by a young lady and

chorus by Mr. Heim's choir.

Part II

1. Overture

2. Chorus, 'Lift up your hands' — By IVIr. Heim's choir.

3. A Sonata on the Forte Piano — By Miss MoUer, not ten years of age.

4. Duetto 'Gott is mein Lied' — By a young lady and gentleman.

5. Solo, Violoncello — By an Amateur.

9. Chorus, 'Let all the lands with shouts of joy'. Solo by a young lady, and the
chorus by Mr. Heim's choir, with a grand Hallelujah Chorus.

Subscription for six concerts, will be received by Mr. James Oellers, at two dollars,
for which every subscriber shall receive six tickets of admission.

Tickets of admission to be had at Mr. James Oellers, Front street. Price one half
dollar each, to nonsubscribers.

Unfortunately the dates and programs of the subsequent concerts have

escaped me, for it does not seem plausible that the "vocal and instrumental

music" following the afternoon ser\'ice on the "Anniversary of the opening

-of the Holy Trinity Church", November 28, 1790 formed part of the series^).

With these subscription concerts the promising movement for choral
concerts came to a sudden end. Though I made it a point to copy from
the newspaper every reference to music, I found no choral concerts ad-
vertised during the last decade of the eighteenth century. Possibly such

1) Pa. Packet, Nov. 2, 1790.

2) Pa. Packet, Nov. 27, 1790.

— 122 —

were announced i) and merely escaped my attention, yet they must have
been exceedingly few. It would seem therefore, that the anthems, sacred
cantatas and the Hke were again, and perhaps justly, relegated to the "Sing-
ing Schools" and the church whence they had barely emerged into a more
public light. Perhaps, also, we have to seek the historical explanation for
the strange combination of devotional and concert-elements in the American
church music of to-day in this source. A hundred years may work a multi-
tude of stiUstic changes but it takes more than a century to break traditional
habits. On the other hand, the reasons for the sudden collapse of the mo-
vement for choral concerts are not far to seek. The virtuoso had commenced
to assert his charms and where it is a question between a bravoura-aria
and a chorus, the public rarely hesitates to side with the virtuoso. Only
in countries or cities with a well-balanced, mature concert-life or where
opera does not reign supreme will this observation be found to lack truth.
About 1790 the musical life of Pliiladelphia was neither w^ell-balanced nor
beyond formative conditions, and in addition to this opera, Enghsh opera,
of course, with a slight ingredient of French and Italian operas, was steadily
gaining in power. Indeed to such an extent that the entire concert-Hfe
lay more or less in the hands of singers and instrumentalists, connected with
Wignell and Reinagle's 'New Theatre', founded in 1793. With a man like
Zelter at the helm it might have been possible to form and keep alive a choral
society in spite of all natural obstacles and thereby lay solid foundations
for a general interest in choral music at a comparatively early period, but
this task was quite beyond the powers of an Andrew Adgate, however ener-
getic he was, and hence the fascinations of virtuosity and opera of necessity
were allowed to retard for many years the growth of an organized cultivation
of choral music without which the musical life of no community can be
said to be well-balanced. That a faint conception of all this was dormant
in some persons may be taken for granted and possibly when Silas Dins-
moor in the announcement of the opening of his Singing School 2) scorned
those who "chuse to pay their devotions in the Temple of Comus rather
than in the House of God", he also voiced the sentiments of those who
regretted the incoming tide of opera not so much on moral grounds but in
the interest of choral music^V

1) For instance, Jacob Hilzheimer narrates in his diary that George Washington
"with his lady" was present at a concert in the Lutheran Church on January 8, 1791.
Possibly the concert was announced in one of the papers not examined by me.

2) Dunlap's Daily American Advertiser, Dec. 18, 1793.

3) If Scharf and Westcott in their History of Philadelphia 1884, v. 3, p. 2291,
in -writing of musical societies at Philadelphia claim that "the oldest was the Harmonic
Society, which existed some time previous to the present century and continued to
the year 1802 or 1803" they contradict themselves flatly as they say in the same

— 123 —

In addition to all the concerts so far unearthed, the end of the Revolu-
tionary War saw an immediate revival of the 'Benefit' concerts, that is to
say, concerts given at the risk and for the benefit of particular musicians.
Who the first was to appeal to the pubUc is, of course, very immaterial but
as a matter of record it may be remarked that unless it was his "last" concert,
of which the flutist Wilham Brown spoke in October 1783, it probably was
James Juhan, the self-styled inventor of the "Great North American Forte
Piano" who had lately come to Philadelphia i). He presented a "variety
of new and modern pieces of music, executed on various instruments" at
a concert of vocal and instrumental music at the French Academy in Lodge
Alley on August 6, 1783.

Then WilUam Brown, who "having been prevailed on by several gent-
lemen to continue his stay in Philadelphia and being inchned to gratify
them" offered in the Pennsylvania Packet, October 14, 1783 proposals for
two subscription-concerts under his direction at the City Tavern on Oc-
tober 16th and 28th. The details of the announcement are curious enough
to be quoted in full. Especially the idea of issuing tickets of different
color deserves attention as it shows the beginning of a managerial detail
in our country soon imitated by the Uranian Academy and since generally
adopted :

"One subscription paper will be left at the said tavern, and another sent about
the city, to either of which gentlemen may subscribe to, as conveniency or inclination
may lead. The price to subscribers will be as in his last, viz. half a guinea to each
person for the two concerts, who are to be furnished with red tickets so as to answer
for both evenings.

Tickets for admittance to nonsubscribers will be signed in black, the price of which
to be one dollar and a half for each concert. To render the entertainment more agreeable,
Mr. Brown proposes that exclusive of the overtures, solos, lessons etc. there be some
harmony music, the performance of which at his last concert having given such general
satisfaction. — He further proposes to perform some well-known and approved Scotch
airs, etc. with variations.

In 1784 Wilham Brown was the first to go before the pubhc with a benefit
concert at the Lodge Room. It was announced for Feb. 5th but was post-
poned to February lOth^). Of the program nothing is said except that
he proposed "(for that night only) to play several favorite airs with varia-
tions" an attraction imported from Europe where it was the vogue. Shortly

work in v. 2, p. 1088: "About 1802 the Harmonic Society was founded ... for the study
of sacred music. A clergyman, the Rev. Andrew Law was chiefly concerned in pro-
moting the organisation . . . this association aspired to concert and usually give at least
one in each year . . . This association was in existence as late as 1817". The Rev. An-
drew Law is, of covirse, identical ^\ith Andrew Law, the psalmodist, whose erratic career
would be well worth a monograph.

1) Pa. Journal, June 25. 1783.

2) Pa. Gazette, July 31, 1783.

3) Pa. Packet, Jan. 24, Feb. 12, 1784.

— 124 —

afterwards, William Brown must have gone to Charleston for on July 3d,
having "lately arrived from Charleston" he announced in the Pennsylvania
Packet a concert for July 9th to be followed by a ball. Tickets, at 10 s
each, were "to admit a gentlemen and lady", a custom so eloquently centering
in European advertisements around the chateau whose place, at least in
our country, is now taken by the matronly chaperon. Mr. Brown must
have played the German flute to the delight of the gentlemen of
Philadelphia to whose worldly attainments a proficiency on this instru-
ment was considered just as essential as in medieval times for kings
and noblemen a proficiency on the harp, or during the Renaissance the
abiUty to sing a part prima vista, — evidently so, for he felt sure enough
of an additional 'benefit' on September 16th. He also played a "double
concerto for the vioHn and flute" at a concert given under similar conditions
on March 23, 17841) ^^ ^j^g Lodge Room for the benefit of Phihp Phile,
whose fame rests nowadays on his problematic authorship of the 'Presi-
dent's March' which was to give life in 1798 to Joseph Hopkinson's, 'Hail
Columbia'. Finally a concert, of course "vsdth ball, was given on April Gth^)
"for the benefit of Mr. Juhan", leaving it open to doubt whether it was
James or "Alexander Juhan, junior. Master of Music" who in December
1783 had lately arrived in Philadelphia^). The program consisted "of the
most favourite music, and particularly a concerto on the flute, by a gentleman,
a scholar of Mr. Brown".

In 1785, Mr. Brown, who seems to have been of a somewhat wandering
disposition, was again the first on the plan. "Intending for Europe early
in the spring" he thanked the citizens of Philadelphia "for every counte-
nance and civihty heretofore shown him" and "being solicited and encouraged
by some of his particular friends" he announced his intention to have "one"
concert before his departure. He "appointed" Feb. 8th as the date of this
his "last" concert at the Lodge Room, which, in keeping with the proverbial,
latent meaning of farewell affairs, by no means was to be his last appearance*).
However, Mr. Brown, of whose benefit concerts Henri Capron soon was
to remark that they invariably "opened a scene of considerable profit'
assured

"the generous public that nothing will be wanting on his part to render the evening's
entertainment as agreeable as may be wished having, as well to give a greater variety,
as to please those who are not fond of overture music, selected and composed some
pantomime music, which will consist of a variety of Scottish and other airs ; with varia-

1) Pa. Packet, March 18, 1784.

2) Pa. Packet, April 1, 1784.

3) Pa. Packet, Dec. 23, 1783.

4) Pa. Packet, Feb. 2, 1785.

— 125 —

tions, etc. interspersed in a pleasing style ; and to close the whole with the celebrated
symphony of Martini, commonly called the Battle of Debarrie."

This compromise shows Mr. Brown to have possessed keen business
instincts and those among our American musicians who enjoy the reputa-
tion of being business men first, second and third and then artists, may-
look to him as their legitimate forerunner. Indeed, Mr. Brown was accused
by Mr. Capron to have gone so far as to recommend an application for pay-
ment at private concerts, an attitude nowadays considered perfectly proper
but in those days entirely unprofessional. But what was this quarrel
between Brown and Capron, — a worthy pendant to that between Juhan
and Adgate? The answer may be found in an open letter addressed to the
public by Capron in self-defense against certain malicious insinuations in
the Pennsylvania Journal, Feb. 12, 1785. Though long, it unrolls such a
delightful Kulturhild as to prove interesting reading :

TO THE PUBLIC

Mr. Capron being informed that the motives maliciously assigned for his absenting
himself from Mr. Brown's benefit concert, may operate to his prejudice; and being
solicitous on all occasions to evince the highest respect for the public, he begs leave
to observe that he would chearfuUy have contributed his abilities to the entertainment
of the evening, had IVIi*. Brown condescended to make the request.

WTiatever insinuations, therefore, may have been introduced upon this occasion,
Mr. Capron cannot but ascribe to the same spirit, which induced Mr. Brown to recom-
mend an application for payment at private concerts (a conduct which he did not
himself adopt, though he professed the introduction) that so he might create an interest
with the public, by drawing an invidious comparison, and placeing men for whom he
avowed friendship and esteem, in an unmerited and disadvantageous light. In truth,
Mr. Capron has accjuitted himself of every obligation to Mr. Brown, and from the circum-
stances of that gentleman's conduct, he could never be again induced to enter into an
intercourse of favours; but in order to the gratification of the public. The sincerity
of his disposition in this respect, whatever .may be Mr. Brown's superiority in abilities,
he is confident cannot be surpassed; and surely it is sufficient triumph (without the
aid of any dishonourable artifice) that every concert for the benefit of that Gentleman,
opens a scene of considerable profit, while the only ojjportunity which the public has
had to assist Mr. Capron, scarcely supplied the means to defray his expenses.

Upon the whole, Mr. Capron confides in the general candour, that considering his
situation as a stranger, — as one, who, without deriving any pecuniary advantage,
has punctually contributed to the winter's amusement, and as a performer desirous of,
and indeed needing the patronage of the public, it will not be imputed to him as an
offence that either through the pride or subtility of Mr. Brown's conduct, he was de-
prived of the honour of attending at that Gentleman's concert.

Though proverbially the devil is never quite so black as painted, Mr.
Brown really seems to have had a malicious tongue and apparently did not
enjoy an enviable reputation among his fellow- musicians. Not enough with
Capron's attack, imm.ediately below John Bentley, the manager of the City
Concert, addressed a card, as such effusions were called, to Mr. Brown leaving
nothing to be desired in candid condemnation of his character. This gentle-
man's unsavory character hardly interests posterity, whereas a reprint of

— 126 —

Bentley's card seems warranted for the valuable information it conveys
on the conduct of concerts and the professional etiquette of those days:

Mr. brown.

Sir,

As the public prejudice, however excited, is of importance to one who depends
upon public favour, I deem it a duty I owe to myself, as well as to those whose generous
patronage has supported me in my professional pursuits, to counteract the insidious
attack you have made upon my character and interest ; and by stating a few questions
relative to our connection in general, but particularly respecting my conduct at your
benefit concert, I trust it will fully appear that I have not only acquitted myself with
liberahty to you, but likewise with the respect and gratitude which I have ever felt
for the public.

And first. Sir, allow me to enquire, whether, at any time, you desired my assistance
at your concert ; nay, whether by refusing the loan of the harpsichord usually lent, you
did not give me room to suppose it was neither wished nor expected?

That you raised an opinion in the public that I occasioned the absence of two
performers, is certain ; but as the truth is contrary to that opinion, I must request you
to declare the grounds upon which so indivious an insinuation was founded? The gentle-
men alluded to, for reasons which I had no right to control, objected to any further
correspondence with Mr. BrowTi, upon the footing of favour. They had already ac-
quitted themselves of their obligation to perform for his benefit, and as they are volunteers
at the City Concert, surely it would have been indelicate in me to have persuaded them
to any unprofitable trouble ; or upon the idea of their living in my house, to have intruded
(contrary to their private feelings and disposition) any services you might require.

The situation of these gentlemen, as boarding and logding with me without any
charge or expence, might perhaps have induced you to think that any wish of mine
upon the occasion would have prevailed with them: But here let me recall to your
remembrance your own conduct upon our first acquaintance. Did you not live free
of every expence in my house for the whole of the last winter, and some months after
the concerts were closed? Did this induce you to perform without a premium or even
to consult my interest upon occasions which did not interfere with your own ? No, Sir.
You were supported at my cost; your demand of three pounds for every night's per-
formance was paid ; and not withstanding this conduct on my part, you were ungrate-
ful enough to traduce me in private, and to attempt my ruin with a most respectable
character, whose friendship I had essentially experienced. — Upon this case, I may
safely trust to the candor of the public for my satisfaction; and to your own feelings
(if you are not insensible to shame) for your punishment.

(A true copy) John Bentley

To. IVIr. Brown, at Mr. Dietrich's,
Tobacconist, in Thirdstreet.

To give this sublime outburst of indignation a ridiculous sequel, shortly
afterwards, on March 15th in the Pennsylvania Journal, Mr. Capron — to
use his own words — a stranger in the country, ignorant of its language
and known but to few of its inhabitants, confiding in the hospitaUty of the
public disposition for that encouragement which he could not desire from
the assiduity of private friendship, or the advantages of popular reputation,
presented his respects to the pubhc and sohcited their attendance on March 29
at a concert of vocal and instrumental music to include a variety of famiUar
airs, Scotch and English and a collection of Pantomime music never yet

— 127 —

performed in Philadelphia. To render the entertainment complete he in-
tended to collect every assistance that might be necessary — including the
diaholus in musica Wilham Brown! And thereby hangs another tale, for
on March 23d Mr. Capron respectfully informed the pubUc that "on ac-
count of Mr. Brown's departure to Baltimore" he found liimself obUged to
defer his concert until April 12th. Poor Capron! For reasons unknown,
not only was his benefit further postponed to April 19th but this evening
turned out "so unfavourable that even his best friends could not attend
the performance". In this calamity the ladies present "whose interest
however extensive" did "not affect liim more than the honor of their pa-
tronage" came to his rescue. They generously desired that another concert
should be announced and Capron with the sincerest sentiments of gratitude
fixed the date of this extra-benefit for May 3d when, posterity hopes, neither
the absence of William Brown, nor the inclemency of the weather interfered
with Capron' s prospects. After that his star was steadily ascending and
as far as Mr. Brown is concerned the fact that Francis Hopkinson accepted
in 1787 the dedication of his 'Three Rondos' would permit the inference
that the gentlemen of the world were more interested in his musicianship
than in his character as exposed by Capron and Bentley.

The first benefit concert of 1786 was given on January 10th at the City
Tavern by Mr. Julian, either James or Alexander, and it was to consist
"of the most favorite music" i). At the same place, for a dollar a ticket,
which was fast becoming the usual price of admission, the troublesome
Wilham Brown entertained his clientele end of February with a concert for
which, as he said, he "spared no pains, as well with respect to himself as
to such other performers, so as to render the entertainment agreeable" 2).
This was followed by a concert for the benefit of either James or Alexander
Juhan at Mr. Duplessis's New Room in Church Alley on April 25th3). The
program consisted of the following "most favorite music":

First Part.

Simphonie Stamitz

Double Concerto Flute & Violin Davaux

Quartette Cambini

Concerto Forte piano Smith

Second Part.

Symphonia Vanlial

Concerto Flute Bro\^Ti

Duetto Fortepiano Smith

Concerto Violin Borghi

1) Pa. Packet, Jan. 4, 1786.

2) Pa. Packet, Feb. 22, 1786.

3) Pa. Packet, April 22, 1786.

— 128 —

Shortly afterwards, on May 11th, postponed from May 9th, William
Brown again assembled his friends at the City Tavern to listen to a concert
of ,, instrumental music" consisting of such select compositions as he flattered
himself, would not fail to please those who might honor him with their
company!). The next concert, on Sept. 21st at the City Tavern seems to
have been for the benefit of Henri Capron "lately returned from Char-
leston". Assisted by some of the ablest masters, as he remarked in the
flowery announcement 2), apparently composed with care and love by one
of his English speaking friends, he rendered the following pieces.

Part first
Overture to the Desert er^)

Song Reinagle

Concerto Violoncello Mr. Capron

Simphonia

Concerto Violin Mr. Julian

Part Second
Overture to La Belle Arsiene*)

Sonata Pianoforte Mr. Reinagle

Simphonia

Concerto Flute Mr. Brown

A Glee

If this program had a decidedly French flavor, that of Alexander Reinagle's
benefit concert at the City Tavern on Oct. 12th^) brought Haydn to the
foreground, now irreverently often dubbed Paya Haydn but whose music
in by-gone days when Stamitz and Abel still held the field must have
sounded quite revolutionary and radical:

Act I

Overture of Haydn

Song Mr. Reinagle

Concerto Violoncello Mr. Capron

Act II

Sonata Piano Forte Mr. Reinagle

Concerto Flute Mr. Brown

Concerto of CorelU

Act III

Sonata Piano Forte Mr. Reinagle

Concerto Violin Mr. Juhan

Overture of Haydn

Trio and Glee

1) Pa. Packet, May 8 and 9, 1786.

2) Pa. Journal, Sept. 10, 1786.

3) Probably by Dibdin.

4) Monsigny.

5) Pa. Journal, Oct. 7, 1786.

— 129 —

If Reinagle on this and other occasions more than probably was respon-
sible for th.e pieces standing opposite his name, it is not quite clear, as was
previously remarked, whether his comrades played concertos of their own.
All of them may be traced as composers and it is therefore at least possible
that they treated the audience to their own music, which may or may
not have been of value. On the other hand, the custom prevailing to
bestow a generous silence on the composers of works destined to show off
the dexterity of virtuosos, it is also at least possible that they played
concertos not their own. The fact that the program reads "Concerto of
Corelli" need cause no apprehension in accepting this theory, for this
evidently was a concerto grosso. In all likelihood the occasions when our
early soloists would and would not appear as interpreters of their own works
were about equally divided.

If the program of William Brown's benefit concert on February 13,
17871) had not been an exception to the rule of not clearly indicating the
composers of concertos, sonatas etc. it would go far to prove that Brown,
Capron, Juhan and others were in the habit of performing their own works.
It reads:

Act I

New Overture, La Chasse Stamitz

Song Reinagle

Concerto Flute Brown

Act II

Sonata Piano Forte (La Chasse) Campioni

Canzonett Jackson

Concerto Violin Daveaux

Act III

Duetto Violin and Violoncello Cambini

Rondo Flute Brown

Miscellaneous Concerto.

Overture Rosina^), by particular desire.

Possibly the printed programs, if such were issued, gave fuller details
as to this interesting and for the bibliography of American music important
point, but it stands to reason that the programs were generally printed in
the newspapers in heu of separate programs. Indeed, in countries where
the custom still prevails to charge a fee for programs, many economical
persons may still be seen at concerts with programs clipped from the
newspapers.

When announcing his benefit concerts Henri Capron never failed to
address the public in terms of the most abject and polite gratitude but when
he respectfully solicited the attendance of his friends on March 6th at the

1) Pa. Packet, February 12, 1787.

2) Shield.

Souneck, Early Concert Life.

— 130 —

City Tavern lie went a step farther in a direction whicli shows that though

he did not possess the savoir faire of his antagonist Wilham Brown^ he at

least knew how to advertise. Though these pages do not deal with a history

of musical instruction in our country, yet the appendix to Capron's program

is so quaint that a quotation may serve to alleviate the monotony of this

chronological narrative. Certainly the idea of demonstrating his abihties

as guitarist ad oculos of those who might have been attracted by his terms

was quite clever:

PLAN OF THE CONCERT

Act I

Symphonie Stamitz

Song Reinagle

Concerto Violoncello Capron

Act II

Grand Symphonie Vanhall

Concerto Violin Cramer

Sonata Guittare Capron

Overture, Rose et Colasi)

Act III

Concerto Flute Fiolla

Sonata Piano Forte Reinagle

Overture Stamitz.

Mr. Capron respectfully informs the public that he instructs ladies and gentlemen
in the art of singing and of playing on the Spanish and English guitars, recording the
most approved method of the first masters in Europe.

His terms are one guinea for eight lessons, and one guinea entrance — the entrance
to be dispensed with if the person applying to him has received previous instructions
from another master. At two lessons per week he engages to perfect any person, possess-
ing a tolerable ear, in the space of six months.

The guitar, from the late improvement which it has received, being so portable
and so easily kept in order, is now considered not only as a desirable but as a fashionable
instrument . . .

Two of the remaining concerts of the year 1787 were both given for the
benefit of Mr. Juhan which again would leave the puzzle open whether it
was James or Alexander unless the argument seems more plausible that
only one Juhan still resided at Philadelphia as otherwise the announcements
would have made some distinction between the two. In that case, the
chances are in favor of the younger Juhan, Alexander, easily traced in sub-
sequent years whereas James disappears from the musical horizon. The
concerts w^ere to be given at the City Tavern on May 29th and April lOth^),
dates following each other so closely that the suspicion of identity is allayed
only by characteristic differences in the programs. The "plan" of the first
concert is of actual importance because it shows the introduction in our

1) Monsigny.

2) Pa. Packet, May 23 and April 4, 1787.

— 131 —

country of the comparatively new idea of pianoforte music d quatre
mains:

Act I

A new Overture Reinagle

Concerto Flute Brown

Song Sarti

Overture Haydn

Act II

Sonata Piano Forte of Haydn IVIr. Juhan & IVIr. Reinagle

Concerto Violoncello Capron

Solo Violin Juhan

The Grand Overture Martini

Tickets at 7 5 6 each to be had at the City Tavern, and of IVIr. Juhan', — at ]\Ir.
Capron's in Morris Alley.

It may be taken for granted that Mr. Julian and his associates on this
occasion exerted themselves to the best of their abiUties as no less an il-
lustrious person than George Washington sat among their audience. We
know this from Washington's diary; an entry appearing there on May 29th
to the effect that he "accompanied Mrs. Morris to the benefit concert of a
Mr. Juhan". The program of Juhan's second concert reads:

Act 1st.

Grand Overture Martini

Song Reinagle

Solo Violin (newly composed) Juhan

Act 2d.
Overture to the Deserter^)

Concerto Flute Brown

Sonata Piano Forte Reinagle

Concerto Violoncello Capron

Act 3d.

Concerto VioUn Cramer

Sonata Guittar Capron

(By desire) the Overture to Rosina^)

Three weeks later, on June 12th, Alexander Eeinagle had a benefit^).
Presumably he was above the petty professional jealousies of musicians not
quite his equals. Still it must have been gratifying to him that George
Washington attended his concert*), as he had that of Juhan. If, as we
have reasons to beheve, he gave harpsichord lessons to NeUy Custis, Wa-
shington's adopted daughter, it was only natural that the "General" should
thus show his appreciation of her teacher who appears to have had something

1) Either Dibdin or Monsigny.

2) Shield.

3) Pa. Packet, June 4, 1787.

4) See Washington's diary.

— 132 —

in common with Washington in dignified behaviour and appearance. The
program offered certainly was very "modern" and if Reinagle played
one of his sonatas now preserved in autograph at the Library of Congress,
George Washington, providing he was more musical than he claimed to be,
cannot have failed to observe that Reinagle was not only a good teacher
but also a composer of merit:

Act I

Overture Bach

Concerto Violoncello Capron

Song Sarti

Act II

Overture Andre

Concerto VioUn Fiorillo

Concerto Flute Brown

Act III

Overture (La Buona Figliuola) Piccini

Sonata Pianoforte Reinagle

A new Overture (in which is introduced a Scotch

Strathspey) Reinagle

All these benefit concerts, as well as the only two I have traced for 1788
and 1789 began at 7 o'clock P. M. which seems to have come to be considered
the desirable hour for entertainments in those days and a passing remark
might well be made here that it still was customary, as in Europe, to have
tickets for sale at the residence of the musician to be benefited, at taverns
and bookstores. The programs of these two concerts, though I doubt them
to have been the only ones given, show an incHnation towards the music
of the altogether too prolific composer Wanhal. The first was announced for
the benefit of Mr. Rehine, a singer, for Nov. 25, 1788 but was postponed
on account of the inclement weather to November 28th i) when Mr. Rehine
did little more than fill in the intermissions between the instrumental num-
bers unless he expected to give encores, then less frequent and less vulgarly
insisted upon than nowadays:

Act I

Overture by IVIr. Stamitz

Song 'The Lover's petition JVIr. Rehine

Solo VioUno Mr. Phile

Song 'No t'was neither shape nor feature' .. .. Mr. Harper

Quartet Mr. Daveaux

Song '0 gentle maid' Mr. Rehine

Sinfonia Mr. Stamitz

1) Independent Gazetteer, Nov. 15 and 16, 1788.

— 133 —

Act n

Sinfonia Mr. Vanhall

Song, 'Mary's Dream' ]Mr. Rehine

Concert Clarinetto Mr. Wolf

Hunting Song Mr. Harper

Quartet ]VIr. Kammel

Song 'Ma chere amie' ]Mr. Rehine

Sinfonia jNIr. Kammel

The concert of 1789 took place on April 16th (postponed from the four-
teenth on account of one of the principal performers being sick), for the
benefit of the violinist Mr. Schultz at Henry Epple's, the fashionable trai-
teur^). The program to which Mr. Rehine contributed the "vocal parts"
was advertised in this rather fhmsy style:

Act I
Overture of Artaxerxes^)

Song Rehine

Sonata Pianoforte
Violino Concerto

Act II
Symphonia, from Hall IVIr. Rehine

Song

Quartetto
Flute Concert
Symphonia from Hall

Of course, this mysterious "from Hall" was a misprint rather than an
anglicized form of Van Hall and in a subsequent advertisement Mr. Schultz
hastened to rectify the mistake.

Merely mentioning Philip Phile's concert on March 18, 1790 and that
of Mr. Schultz on April 8th I hasten to a few concerts strikingly different
in their programs from previous entertainments. So far the musical Ufe of
Philadelphia was distinctly English in character but now the French element
made itself more and more felt. It goes without saying that this shifting
of appearances was due to the French Revolution which drove a surprising
number of refugees to our country and especially to the Middle and Southern
states. The first sign of the new era came when "a company of French
musicians lately arrived" announced their intention to give a "Grand con-
cert of vocal and instrumental music" on July 29 th^) at the City Tavern
with this decidedly French program:

1) Pa. Packet, April 11 and 14, 1789.

2) Arne.

3) Pa. Packet, July 27, 1790.

— 134 —

FmsT Act.

1. A Grand Symphonia, in full orchestra.

2. 'Mx. De Lislei) wiU sing an arietta in counter tenor, from Ariane^), from the
Grand Opera, at Paris.

3. Mrs. De Lisle wiU sing an arietta with several variations (de bravoure) from
the fair Arsene — 'Est-il un sort plus glorieux'.

4. A Concerto of St. George, by ]Mr. Emanuel.

5. A Grand Symphonia in full orchestra.

Second Act.

6. ^Ir. De Lisle wUl sing the arietta 'Le roy passoit' from the Deserter, music
of Monciny [!].

7. Mrs. De Lisle wiU sing an arietta with several variations (de bravoiire) from
the Infant of Zamora^).

8. 'Mr. Emanuel will play several airs and that of Marlborough, [ !] with variations.

9. ISIr. and 'Mis. De Lisle will sing the song of the False Magie in two parts, music
of Gretry.

10. The concert wiU end with a grand symphonia in full orchestra.
*^* 3Ir. Reinagle and the members of the Amatevir's Concert, will assist in the
above.

If the performers declared that they "had been induced to come to

America by the deserved reputation wliich the inhabitants bear abroad of

possessing a taste for the pohte arts^ and especially for music" and that

they deemed "their arrival in this part of the American empire, one of the

happiest events of their Hves", we know that this flattering ruse was rather

thin and cannot have deceived readers famihar with the reports of French

travelers who certainly did not contribute much to this musical reputation,

supposedly a stronger inducement for emigration than the sequels of July 14th,

1789. Be this, as it may, the company apparently derived some benefit

from their first concert as they gave two more on Sept. 3d, postponed from

August 30th*) and September 29th. For the second concert, this program

was selected:

Act the first

1. A Grand Symphony

2. The Ariet of Lord Atkinson in Azemia^) 'Ciel! O! Ciel, quand ta rigueur':
Sung by ilr. De I'lsle.

3. A Concerto of Fodor: by ^Ir. Emanuel.

4:. The favourite Air 'La fauvette avec ses petits' in Zemira and Azor^), sung
by Mad. De Lisle.

5. A Concerto: Symphony of Davaux, on the violin; by ]Mr. Emanuel and a son
of 'Mi. D. Duport (a youth not yet ten years old).

6. The Ariet 'Sans chiens & sans boulette' from Rose et Colas, sung by IVIr. De Lisle.

7. Gluck's Ouverture of Iphigenie en Auhde.

1) Also spelled Dehsle, de I'lsle, the latter form probably being correct.

2) Probably by Edelniann, 1782.

3) Paisiello-Framery, 1789.

4) Pa. Packet, August 28 and Sept. 3, 1790.
6) Dalayrac.

6) Gretry.

— 135 ~

Act the second

1. A full chorus Symphony.

2. The famous Air of Richard Coeur de Lioni);

O! Richard, O! mon Roi

L'univers t'abandonne!

Sur la terre il n'est done que moi

Qui s'interesse a ta personne, etc.
Sung by ilr. De Lisle. (This celebrated air being played occasionally at a
con\ivial meeting of the Body Guards of his Most Christian Majesty, worked
so much upon their feehngs as made them trample under foot their National
Cockades, and nearly occasioned a counter revolution in France.)

3. A Concerto of De la Motte, by M. D. Duport, junior.

4. The Italian air, 'Vole a nos bois' : Sung by Mad. De Lisle.

5. Several favorite tunes with variations will be performed by 3Ir. Emaniiel and
ilr. D. Duport junior.

6. Mr. and Mrs. De I'lsle will sing a duet.

7. The Overture of the French opera, Les Deux Tuteurs^).

The program of their third and last concert, held at the home of the
dancing-master Sicard in Church Alley, reads:

Act I
L The Overtme to a French opera called Les Deux Tuteurs.

2. An Arietta of Zemire and Azor — 'Le malheur me rend intrepide', to be sung
by Mrs. Dehsle.

3. A Concert on the Clarionet.

4. An Arietta from a French opera 'L'Amant jaloux'^). By ]\Irs. Delisle.

5. A new Concerto of Jarnovic by Mr. Emanuel.

6. A grand SjTnphony in full orchestra.

Act II

7. Overture of Iphigenie, a grand French opera*).

8. An Arietta from a French opera (Le Silvain) 'Je sais braver le coup du sort'.
By ]\Ir. Dehsle.

9. An Arietta from La Fausse Magie^) 'Comme au eclair' by ]Mr. Dehsle.

10. Several airs with variations, and [Marlborough. By ]\Ir. Emanuel.

11. A Duo from Le Silvani, Gretry's music. By ]\Irs. and ]Mr. Delisle.

12. A grand Symphony in full orchestra.

Undoubtedly the music-lovers of Philadelphia profited by the perfor-
mances of these and other Frenchmen but it must also be said that the
programs with their operatic selections established a vicious precedent and
only the good taste of men like Reinagle, who reigned supreme in matters
musical, could stem temporarily the tide towards concerts that really were
opera-anthologies in concert garb, a hybrid form of entertainment still

1) Gretry.

2) Dalayrac.

3) Gretry.

4) Probably Gluck.

5) Gretry. It will have been noticed with what care the company selected ariettes
reminding the audience nolens volens of their misfortunes.

— 136 —

more or less in vogue in our own times, so boastful otherwise of esthetic en-
lightment. Furthermore the last decade of the eighteenth century with its
influx of voluntary or involuntary adventurers brought into our musical
life a sensational element of which it previously had been relatively free.
Among other things^ that esthetic abortion, the precocious child — with
all due respect for a genius like Mozart who was a prodigy, something totally
different! — was beginning to haunt the concert rooms and surely if, in
accordance with European customs, Mr. D. Duport advertised his son "not
10 years of age, who has performed before the Royal Family in France"
there were esthetic undercurrents at work which must have made men
Hke Francis Hopkinson sigh for Colonial Times. "Not ten years of age"
however, . seems to have been the proper age of these socalled prodigies for
this was also the drawing card for Miss Lucy Moller's concert on Dec. 3,
17901) at which she played "a concerto on the grand pianoforte as also
the [!] Sonata of the famous Haydn" and, being a wonder-child, she, of
course, had performed in London "with the greatest applause and exceeded
any child of her age". Under these circumstances it is probable that she
derived a greater benefit from her concert than did a masterly musician
like Alexander Reinagle from his on Dec. 29th 2) of which, unfortunately
I do not possess the program.

Though in all Kkelihood benefit concerts were given in 1791, I was not
in a position to trace them. In 1792, Mrs. Kenna, who belonged to the
theatrical company just then performing in the section of Philadelphia
called Northern Liberties, held a concert of vocal and instrumental music
at Oeller's Assembly Room on May 8th 3). The program was of prodigious
length and curiously interspersed with recitations:

The entertainment to open with an

Overture Smith

After which IVIrs. Kenna will give

A Dissertation on Hearts. Part First — The Heart of a
iEonest Soldier — The Heart of a captain — The Heart of a
miser — A sound and upright heart.

Symphony Stamitz

Sonata Pianoforte Miss Moller

Part Second — The Heart of a milUner and the Heart of a
amiable woman.

Symphony Abell

Song 'Sweet Passion of Love' Mrs. Kenna

Overture Van Hall

After which ^Irs. Kenna will make a comparative view,
showing the difference of Queen Ehzabeth's Days and the Modes
and Fashions of the Present Times.

1) Pa. Packet, Dec. 1, 1790.

2) Pa. Packet, Dec. 29. 1790.

3) Federal Gazette, May 8, 1792.

— 137 —

Symphony Kammel

Song 'Water parted, etc' Mrs. Kenna

Symphony Abell

Cherokee Chief's Death Song IVIrs. Kenna

Symphony Stamitz

To conclude with

Satan's Address to the Sun, from Milton's Paradise Lost, by
Mrs. Kenna (which she had the honor of delivering before the
Literati of Trinity College, Dublin)
Finale Haydn

A fortnight later^ on May 29tlii)^ Joseph Cezar, "a pupil of the celebrated
Signor Viotti and first violin of the theatre in Cape rran9ois" gave a concert
at the College Hall of "the most applauded musical pieces in Europe",
Instead of mentioning their titles he continued by saying:

"Many amateurs of the first eminence being so kind as to honor him with their
patronage, will perform and amongst the great variety of pieces, which shall be per-
formed, the following are presented to the notice of the pubUc.

B.y Mr. Cassignard, amateur, several pieces of his composition on the guitar.
By Mr. PeUssier, first French horn of the theatre in Cape Fran9ois, a qua-
tuor of his composition.

By an amateur, a sonata on the harp.

The whole to be concluded by a grand simphony.

This concert, interesting because of the first appearance of such a skilful
musician as Victor Pelissier at Philadelphia, must have been somewhat of
a success, for Joseph Cezar "with a view of shomng his gratitude etc. and
to give them and the public an additional proof of his anxiety to deserve
their encouragement", gave with the assistance of "many amateurs and
eminent professors of music" a second concert "at Mr. O'Ellers Hotel" —
even German names may be made to look Irish — on June 16th 2) with
this program:

Overture
A grand Symphony in full choriis
Act I

1. Pleyel's Quatuor. By an amateur, Messrs. Relein, Pehssier and Jos. Cezar.

2. Concerto of Signior Mestrino on the vioHn, by an amateur.

3. A Sonata and Marlborough's variations on the harp, by Mons. Salomon who
taught to play on that instrument in Paris.

4. A Song with music on the guitar. By Monsieur Cassignard, Professor of guitar.

Act II

1. Fodor's Sonata with various tunes, By Jos. Cezar.

2. A Solo on the Clarinet, By Mr. Wolf.

3. An Ai'ietta and a new Marlborough's song with music on the harp. By Mr.
Relein.

4. A concerto Symphony of Viotti. By an amateur and Jos. Cezar ; and the whole
to conclude with a simphony of Heyden [!] in full chorus.

1) Federal Gazette, May 29, 1792.

2) Federal Gazette, June 15, 1792.

— 138 —

Next we notice a "grand" concert on Nov. 8thi) at Henry Epple's, evi-
dently for the benefit of Mrs. Hodgkinson, with this program:

The vocal parts by Mrs. Hodgkinson. Leader of the band, Mr. Gehot, who will
lead at the City Concert.

Act I

Grand Overture Bichl

Quartetto Pleyl

Song JMrs. Hodgkinson

Concerto Pianoforte MoUer

Quartetto Clarinet Wolf

Sinfonia Bach

Act II
Overture of the Deserter^)

Concerto Violin Gehot

Song Mrs. Hodgkinson

Concerto Violoncello Capron

Finale Vanhal

The last concert of 1792 was "the French Concert" advertised for
Dec. 22d^) but as Mrs. Pownall and Mrs. Chambers, two of the soloists,
were on duty at the theatre on that evening the French musicians saw
themselves obliged to postpone it to Dec. 24th when it would positively
take place "as on that evening there will be no performance at the theatre".
An illustration as to what extent the concert-life of Philadelphia had become
dependent on opera and opera stars !

The benefit season of 1793 opened at Oeller's Hotel on Jan. 5th on behalf
of the French musicians "the vocal part by Mrs. Pownall and Mr. Chambers".
The "plan" certainly was varied enough to suit all tastes:

Act I.
Grand Symphonia.

Sonata on the harp, by Mr. Salomon

Song, IVIrs. Pownall, accompanied on the harp by Mr. Salomon
Concerto on the violin, by IVIr. BouUay
Sonata on the Pianoforte, accompanied by the viohn, Messrs. Guenin and

Petit
Song (Handel) by INIr. Chambers
Quartetto, with variations, Messrs. Petit, Boullay, Pilisie [Pelissier] and

a Gentleman

Act II.
Overture from the grand opera of Chimene*)
Solo on the French horn, Mr. Pelisie

Song (by particular desire) "The lark's shrill notes', IVIrs. Pownall
Concerto on the violin, ]VIr. Petit.
A Medley on the Pianoforte, Mr. Guenin
Duet, by IMrs. Pownall and Mr. Chambers
To conclude with a Grand Chaconne, composed by the celebrated Floquets.

1) Federal Gazette, Nov. 5, 1792. 2) Probably Monsigny.

3) Federal Gazette, Dec. 22, 1792. 4) Sacchini.

— 139 —

Only a few days later, on Jan. 15thi) Mrs. Pownall and Mr. Chambers
gave their own joint benefit. They had selected as program in

Act I
Grand Overture.
Quartette (Petit) with variations for the clarinet Mr. Foucard

Song (in French) Mrs. Pownall

Concerto for the Violin INIr. BouUay

Song jMt- Chambers

Grand Chacone (composed by L'Breton)

Duet Mrs. Po^^Tiall and Mr. Chambers.

Act II
Grand Symphonia

Song (3d time by particular desire) Mrs. Pownall

Concerto for the Violin IVIr. Petit

Song IVIr. Chambers

Sonata (Pianoforte, accompanied on the viohn) Messrs. Guenin and Petit

Song Mrs. Pownall

Grand Chaconne (composed by Floquet).
Duet — Mess. Pownall and Mr. Chambers.

During the evening, though not mentioned, Mrs. Pownall must have
delivered an "Address in behalf of the French musicians" for it was ad-
vertised in Dunlap's American Daily Advertiser on March 26th as

"This day published and sold at E. Story's office in Fourthstreet . . . printed on
writing paper and new t3rpe, containing 30 pages (price 15 d) .... delivered on her
Benefit Concert Night, at Oeller's Hotel to a very crowded audience ... To which
are added, Pastoral songs, written by herself at an early period of life . . ."

This address certainly would prove not only pathetic but interesting
reading, but unfortunately no copy has come to my notice.

For Jan. 19th two concerts were announced, one for Mrs. Hodgkinson,
the other again for the French musicians, but John Hodgkinson
hearing of "ungenerous" insinuations that he had selected this evening
"with an intent to throw the French gentlemen out of their usual routine",
protested and assured the public that he had engaged the hall at Oeller's
without knowing of the French concert, had selected Saturday evening
because Saturday was the best suited for concerts etc. and, as was quite
true, not being in immediate necessity as were the French exiles, he wound
up by saying that his wife's concert would be postponed to Jan. 21th2).
The French musicians, thus having the field to themselves, entertained
the public with a program largely identical with the one of their first concert.
Two main numbers, however, were new, Gretry's overture to 'La Caravane

1) Federal Gazette, Jan. 11, 1793.

2) Dunlap's Daily American Advertiser, Jan. 17, 1793.

— 140 —

du Caire' and an "overture from Glide, opera of Iphigenia" whatever this
might stand for^).

If the printer's devil took such hberties with, as we suspect, master
Gluck's Iphigenie en Aulide, he displayed still more originahty in trans-
forming the title of an Italian song sung by Mrs. Hodgkinson at her song
recital on Jan. 21th, announced so as to leave no doubt of the unimportance of
instrumental numbers when stars like Mr. and Mrs. Hodgkinson made their

bow to the pubhc:

SONGS
(By desire) Primroses deck the banks green side
(Bravura) Cease gay seducers
(By desire) Kate of Aberdeen
(Italian) I now te mer, bel idol mio
In the course of the evening Mr. Hodgkinson wiU read CoUin's Ode on the passions,
the Three warnings, and Foote's celebrated Prologue on the Impossibility of pleasing
everybody.

John Hodgkinson also deviated from traditional methods by having the
tickets for sale at his lodgings only, with the exclusion of the different inns,
book and music -stores.

Whether benefit concerts were given during the fall of 1793 I do not know
and I therefore hasten to a species of entertainments which Kaynor Taylor
introduced in Philadelphia on Jan. 18, 1794:2) after having, as we know,
toured the South with them. On said evening was performed:

AN ODE TO THE NEW YEAR]
With a variety of other pieces, consisting of songs, duets and trios, pastoral, serious
and comic, entirely original, by Miss Huntley, and other young ladies and Mr. Taylor,
by whom the whole of the music is composed — who will accompany the songs on the
grand pianoforte and perform some extempore pieces on that instrument.

Finding, as he said on Jan. 28th, that several famiUes, who intended to

be present, were prevented by indisposition and other circumstances, Raynor

Taylor - — the date is not mentioned — gave

another performance with the assistance of Miss Huntley and an other young lady,
called an Olio which will be similar in its nature, but different with respect to the parti-
cular pieces, those comprehencUng the first two parts being entirely new, and, among
others, will consist of the following subjects: — The Poor female ballad singer, a pathetic
song ; Hunting song ; Algerine captive ; Sailor's song ; Ding Dong Bell, or the Honeymoon
expired, being the courtship and wedding of Ralph and Fan ; Character of smart Dolly,
a laughing song; Rustic courtship, or the unsuccessful love of poor Thomas, a crying
song with duet, trio etc. and for the 3d part, by desire, will be repeated, the Ode
to the New Year. Each part wiU be preceded by a piece on the Grand Pianoforte.

1) Dunlap's Daily Am. Adv. Jan. 17, 1793. Merely to throw sidelights, it may
be recorded that the French gentlemen in anticipation of a modern custom, requested
"such ladies and gentlemen as might be pleased to have music performed at their houses,
to enquke for them". It is pretty safe to say that the prizes paid now and then even
by "Bob" Morrison were in about in the same proportion as his miUions to those of a
Rockefeller. 2) Dunlap's Daily Am. Advertiser, Jan. 11, 1794.

— 141 —

The only other benefit concert I came across for 1794 was given on
Nov. 29th. It was remarkable in two directions. First for a really inter-
esting program and then for the pitiful manner of announcement. Truly
the horrors of the black insurrection in St. Domingo are brought home to
us when we read that the concert was to take place

for the benefit of a person who has fallen from the most independent affluent
situation (if the annual receipt of 20 000 1. may be called so) to the most abject state
of distress, in consequence of the massacre at Fort Dauphin, in the island of St. Domingo.

Conscious of the humanity of the citizens of America, he feels it unnecessary to
rouse their sensibiUty by a more minute detail of his former and present situation,
particularly as they are well known to several respectable characters in their city.
He wiU only remark that a few years-nay, months since, it would have been difficult
to persuade him that he should be reduced to the necessity of making this application
to the humanity of a generous pubUc, or that he should have recourse to that art which,
in his earlier days, had been taught him merely as an accomplishment, in order to
procure the necessaries of life for himself and family. He can assure the lovers of music
that they will be amply gratified, as the selection has been carefully made, and will
be executed with judgment.

PLAN OF THE CONCERT.
Act I

1. Overture, representing the Battle of Ivry, in grand orchestral)

2. Concerto on the Clarinet, by IVIi-. Henri

3. An English Air, by IVIrs. Pownall

4. Concerto on the Violin, composed by Signior Viotti, by Monsieur CoUet

5. Concerto on the Harp, by a lady

6. Overture, composed by Pleyel, in grand orchestra

Act II

1. Ouverture, composed by Haydn

2. A Quartette, composed by Pleyel, by Monsieur Collet

3. Two airs in harmony, by eight wind-instruments

4. A French Ariette, by Mrs. PowTiall

5. A Concerto on the Pianoforte by Krumpholtz, by Monsieur Gerin

6. Overture of the opera of Samatico Burlato^) in grand orchestra

On Jan. 20, 1795^) a Mr. Mechtler gave a concert for his benefit in the
announcement of which we find as second number "a concerto de riots for the
violin", whatever this might mean. Here is the whole program containing
not less than three concertos, two symphonies and a "great" overture:

Act I
A great Overture d'Haydn

A Concerto de riots for the violin, by Mr. Collet
A Concerto of Kozeluch for the Pianoforte by Mr. Mechtler
A Symphony of Pleyel

1) Martini.

2) Fanatico Burlato by Cimarosa.

3) American Daily Adv. Jan. 16, 1795.

— 142 —

Act II

A Symphony of ]\Ir.

A Concerto, ari'anged and executed by Mi". Demarque
Petits airs varices for the harp
A Full piece.

Following this, Messrs. Guenin and Menel had a benefit at Oeller's
Hotel on March 3di) the "vocal parts" by the famous Mrs. Oldmixon over
whom, many years later, Parker grew so enthusiastic. Again the program
is noticeable for the predominance of concertos:

Act I
A Grand Symphony

A Symphony concertante for two clarinets, by Messrs. Beranger and LuUier
A Concerto on the Violoncello, by Mr. Menel
A Concerto on the Pianoforte, by ]\Ir. Guenin
A Song by Mrs. Oldmixon

Act II
A Grand Symphony

A Concerto on the Viohn, by ]Mr. Gillingham
A Favourite Song, by Mrs. Oldmixon
A Medley on the Pianoforte, by IMr. Guenin
A Full piece.

A few weeks later, on April 7th ^), Mr. Collet presented for his benefit
this rather formidable program:

Act I
Symphony of Haydn

Quartetto of Pleyel, by Messrs. GilUngham, CoUet, Thibaut and Menel.
Concerto of Signor Fodor, on the viohn, by IMr. Collet
Concerto on the Fortepiano, by IVIr. Guenin
Overture of the Two Guardians

Act II
Overture du Barbier de Seville del Signior Paisiello
Concerto on the Violoncello, by ]Mi\ Menel
Symphony of Kjumpholz on the harp, by IVIr. Mechtler
Duette of Jarnowick for the violoncello, by Messrs. Collet and Menel
A Full Piece

All these concerts of vocal and instrumental music were of a rather
miscellaneous character and John Christopher MoUer frankly acknowledged
this tendency by calling the "grand" concert to be held at Oeller's Hotel
on May 5th (postponed from April 14th)3) a "miscellaneous" concert. Now,
Moller was a specialist on the Armonica, then no longer quite so fashionable
as twenty years previous and he readily seized the opportunity to "intro-
duce that instrument ... of which the late Dr. Franklin was the inventor"
and, said Mr. Moller

1) Daily American Adv., March 3, 1795.

2) Philadelphia Gazette, April 1, 1795.

3) Philadelphia Gazette, April 3 and May 1, 1795.

— 143 —

"This instrument since so much improved in Europe by the first artists^) is,
in point of tone and sweet harmony, second to none and in performance of modulation
from which it derives its name, not excelled by any other."

This tlie audience had an occasion to judge for themselves as Moller intro-
duced it on the program not only as a solo but also as an ensemble instrument.

Act I

Overture Haydn

Song, arranged for the Harmonica by Moller

Quintetto Pleyel

Concerto Violin GilUngham

Full Piece Pleyel

Act II

Overture Pleyel

Quartette, Harmonica, 2 tenors, and violoncello by Moller

Concerto Violoncello Manell [Menel]

Fantasia Pianoforte Moller

Finale Haydn

This miscellaneous concert was followed on July 2d 2) by the still more
"miscellaneous entertainment" for the benefit of Mrs. Oldmixon. It was
to consist of

"Readings by Messrs. Chalmers and Harwood, Songs, Duets, Catches and Glees,
by Mrs. Oldmixon, MissBroadhurst, Mrs. Darley, Mr. Marshall, Mr. Shaw, Mr. GilUngham,
Mr. Darley, Mr. Darley, jun. etc.

A Concerto on the Violoncello by IVIr. Menel

Other interesting music. Leader of the band, Mr. Gillingham".

Apparently this sort of entertainment at which almost all the principal
members of Wignell and Reinagle's New Theatre company assisted, pleased
the public as several other similar affairs rapidly followed, for instance on
July 20th and July 22d by Mr. Bates

"by way of an evening lounge, a species of entertainment . . . called Fashionable
Variety, or, a Touch at the Times ..."

If this fashionable variety was not intended as a concert, the "mis-
cellaneous entertainment of readings and music" for the benefit of Miss
JBroadhurst on July 8^) had at least the appearance of a glee-concert:

Part. I. Overture Pleyel — Glee 'Come all noble souls' (Dr. Roger's) Miss Broad-
hurst, Mrs. Oldmixon, Mr. Darley, Mr. Marshall, Mr. Gillingham and Mr. Shaw —
Duet 'The Way worn traveller'. Miss Broadhurst, and Mrs. Oldmixon — 'Recitation,
Mr. Moreton. Catch 'Mr. Spanker', accompanied on the viohn by Mr. GilUngham,
Miss Broadhurst — Catch 'The Cries of Durham', by desire, Mr. Darley, Mr. MarshaU,
Mr. Shaw, Mr. Gillingham, and Mr. Darley, jun. — FuU piece, Haydn. Leader of the
band, Mr. GilUngham. Conductor, Mr. Reinagle.

1) RoUig, Klein, Wagner, etc., and in America by Francis Hopkinson.

2) American Daily Adv. June 30, 1795.

3) American Daily Adv., July 8, 1795.

— 144 —

The program of the last concert of 1795, for the benefit of Mr. Gautier,
at Oeller's Hotel on Dec. Ist^) is in so far noticeable, as pains were taken
to distinguish in the concerto-numbers the composers from the performers:

1st Act.
The famous Overture of Demophon^)

Jarnovick's concerto on the violin, performed by Mr. Collet
A Sonata of Pleyel, on the Pianoforte, by .. Mrs. Sully
An Allegretto of Paisiello

A Concerto of the Clarinet, composed and exe-
cuted by Mr. Gautier

2d Act.

The Overture of Rose et Colas^)

A Concerto of Vanhall, performed on the Piano-
forte by Mrs. Sully

A Song by Madame Larne

Concert on the Clarinet, composed by I\Ir. Lefevre

and executed by Mr. Gautier

The first benefit concert in 1796 was also the most important, at least
historically. It was to be for Raynor Taylor's benefit who also conducted,
that is to say, presided at the harpsichord and "held" the "vocal parts"
with Miss Huntley at Oeller's Hotel on April 21*). A "band of the most
eminent instrumental performers" had been engaged, presumably sup-
plemented, as was customary, in the string group by amateurs. Now the
importance of the announcement of this particular concert lies in the fact
that it gave the composition of the band as follows :

First violin and leader of the band Mr. GiUingham

Principal violoncellos Mr. Menel

Double bass Mr. Demarque

Principal hautboy Mr. Shaw

Tenor Mr. Eerenger

Bassoon and trumpet Mr. Priest

Horns Messrs. Grey and Homman

Violins , Messrs. Dongel^), Bouchony,

Stewart and Shetky.

This was the concertino^ the rvpieno, of course, not being mentioned.
Consequently the band was the full band of the times, clarinets missing,
though to be had, simply because the program did not necessarily call for
them. That Mr. Priest held both the principal bassoon and trumpet parts,
may seem odd, but if he was supposed to do so, it must have been possible
and this exchange of instruments was not at all unusual in those days.

1) American Daily Adv., Nov. 30, 1795.

2) Cherubini.

3) Monsigny.

4) Philadelphia Gazette, April 9 and 18, 1796. ^) Daugel.

— 145 —

Therefore the band contained thirteen "eminent" performers as principals

to which the seconds should be added and also a number of amateurs for

the rifieno strings and possibly for the flutes it such were needed. With

this orchestra, dwarfish if compared with modern monstre orchestras but

not dwarfish if compared with the average orchestra of that age, Raynor

Taylor executed a program consisting half of Haendehan music and half of

his own:

Part I
Overture.

Duet 'Fair Aurora', Artaxerxes — Miss Huntley and R. Taylor Arne

Song 'To-morrow' Taylor

Overture, Samson Handel

Trumpet song, Miss Huntley (Trumpet by Mr. Priest) Taylor

Concerto Hautboy Mr. Shaw

Duet 'O lovely Peace' Miss Huntley and R. Taylor Handel

Marcb, Judas Maccabaus' Handel

Part II
New Overture.

Song 'Amyntor', Miss Huntley Taylor

Concerto Violin, IVIr. Gillingham ,,

Song 'I wonder at you', Taylor ,,

Divertimento „

Cantata 'The Nightingale', Miss Huntley, Bird accompaniment

on the flageolet by ]\Ir. Shaw .. „

Finale, 'Spring', or 'Mirth and Innocent festivity'. Miss Huntley

and R. Taylor „

It is to be regretted that we possess no contemporary report of the im-
pression made by Taylor's compositions on a public conversant mth the
"modern" repertory of that period. The more so, as these more pretentious
works of his are lost and only a few insignificant songs remain which really
do not permit of gauging his talents as a composer. It is also a fact that
exceedingly few other American concert-programs mention his name and
perhaps the neglect of his works was the reason why Raynor Taylor risked
a concert consisting mainly of his own works.

The next concert, at least as far as I found it — a reservatio mentalis
which the reader is requested to constantly keep in mind — was a concert,
of course a grand concert, of vocal and instrumental music for the benefit
of Mrs. Sully and Mr. Gaultier at Oeller's Hotel on April 26th i) with this
rather miscellaneous program:

1st Act
A celebrated Overture of Demophon^)

'The Soldier tired' by ]Mrs. Oldmixon
A Sonata of Pleyel, on the Pianoforte, by Mrs. Sully

'Auld Robin Gray', by Mr. Marshall, composed by Mr. Reeve.

1) Philadelphia Gazette, April 25, 1796.

2) Probably either Cherubini or Vogel.

Sonneck, Early Concert Life. 10

— 146 —

A favorite Scotch air, with variations on the pianoforte, by Mrs. Sully

'The Galley slave', by Mrs. Marshall
A Concerto on the Clarinet, composed by IVIr. Gaultier and performed by himself.

2d Act.

A grand Overture of Iphigenie in Aulide^)

'Amid a thousand sighing silvains', by Mrs. Marshall — Hook.
A Concerto of Harman on the pianoforte, Mr. Sully
A Song, composed by Giordani, by Mrs. Oldmixon

'Tis beauty commands me', by IMr. Marshall
A Concerto on the clarinet, composed by Mr. Lefevre, and performed by Mr.
Gaultier.

Then on July 5th 2)^ Mr. Louis Boullay "hoped for the patronage" of
his friends and "all amateurs of music". As a special attraction he offered
"the whole orchestra of the New Theatre and several of the lovers of music",
which bears out what was said of the band for Raynor Taylor's benefit.

Boullay presented in

Act I

Grand Overture Haydn

Song Miss Solomon

Concerto Clarinet Mr. Wolf

Sea Song by Shield Mr. Marshall

Quintette of Ponto [Punto] executed by Mr.

Rosier, accompanied by Mr. Boullay, Mr.

Beranger, Mr. Homen and Mr. De Marque
Grand Symphony Haydn

Act II

Symphonic Haydn

New Song with accompaniments on the clarinet,

Mr. Wolf .. Mrs. Marshall

Concerto on the Viohn Mr. BouUay

New Song Mrs. Warrell

Concerto on the VioUn Mr. De Marque

Bravoura Song, with variations on the violin

composed by IVIi-. Boullay Mr. Darley

A humorous vocal parody on Shakespeare's

Seven ages, Mr. Bates

To conclude with a grand finale Gluck.

To avoid confusion, it may be remarked that this appears to have been
his final program, Punto's quintet having being substituted for the comic
song 'John loves Jean and Jean loves John' as announced in previous
advertisements.

The remaining years of the century brought a very noticeable decrease
in the number of benefit concerts for the reasons mentioned. This is par-
ticularly true of the year 1797. We notice towards the end of the year a series

1) Probably Gluck.

2) Philadelphia Gazette, June 15, 1796.

— 147 —

of readings and recitations, called 'the Tablet, or Just in time', given with
the assistance of Benjamin Carr, who played overtures, sonatas and pot-
pourris, by Messrs. Chalmers and WilUamson who sang such songs as ' Jacky
and the Cow', 'The tar of all weathers' and 'Nancy, or the Sailor's journal'
but of legitimate concerts very few only seem to have taken place. At
any rate, I found only the one given on Jan. 9th i) at Oeller's Hotel for
the benefit of Mr. Guenin with this rather indifferent program, the first
and last number excepted:

Act the 1st.

A grand Overture, composed by Haydn

A Song, by Mrs. Warrell

A Symphony concertante, by Mr. Gillingbam and Mr. Menel

A Song by Mrs. Warrell

A Concerto on the piano, by ]\Ir. Guenin.

Act the 2d.
A concerto on the violoncello, by Mr. Menel
A Medley on the piano, by Mr. Guenin
A Concerto on the VioUn, by Mr. GilUngham
A Song by Mrs. Warrell
And the celebrated Overture of Iphigenie^).

By March, 1798 little Susanne D'Hemard having, as we know, "been the
admiration of the principal cities on the continent" where "her execution of
the most difficult pieces of music, for judgment, taste and decision" were
considered "uncommon" arrived in Philadelphia and immediately her
mother or who ever managed her concerts, announced a benefit for this
young lady "aged 6 years" for March IQth^) at Oeller's Great Room:

Act I

1. A Symphony, accompanied by a grand or-
chestra of Heyden

2. Overture of Blaise et Babie [l]^) on the piano by Miss D'Hemard

3. Lucy, a ballad Mrs. Grattan

4. Concerto on the Clarinet Mr. Dubois

5. Favorite Sonata of Nicholais [!] on the piano Miss D'Hemard

6. Ah! Nonai (Tachini) [!] IVIrs. Grattan

Act II

1. Overture with a grand orchestra Pleyel

2. Ballad by Heyden Mrs. Grattan

3. Battle of Prague on the piano Miss D'Hemard

4. The Trios of Rousseau, executed by Messrs.
Yanda, Collet and Boucheny

5. Pantiro (Tachini) Mrs. Grattan

1) Philadelphia Gazette, Jan. 9, 1797.

2) Probably Gluck.

3) Porcupine's Gazette, March 12, 1798.

4) Blaise et Babette, opera by Dezede.

10*

— 148 —

6. Several Airs, witli variations by Pleyel on the
the piano, and several other favorite airs in

French and English Miss D'Hemard

7. The Concert will be concluded with several
much admired airs on the French horn and

clarinet by Messrs. Coliot [Collet] and Dubois.

It is interesting to note that about the very year when 'Hail Columbia'
was wTitten and when the estrangement between the United States and
France had reached so acute a stage that George Washington offered to
emerge from Mount Vernon and again become the first in war as he had
been in times of peace, almost all the benefit concerts were given by French
emigrants. May-be they could rely only on the support of music-lovers
among the Anti-Federalists and probably they did not reep such harvests
as five or six years previous when the French refugees were received with
open arms, still, it is remarkable that they could dare appeal to a public
which jDartly had learned to hate the very sight of a Frenchman. That
this same public entertained less passionate sentiments against artists, a
cosmopolitan folk after all, is very plausible since these concerts were given
with orchestras and necessarily entailed expenses not easily covered by
thin audiences. Just when the excitement ran highest, Mr. Dubois offered
a benefit concert, on April 2-4thi) and presumably the fact did jar on the
sentiments of those narrow-minded people who love to carry politics
into art.

Act I

Symphony Haydn

Symphonic concertante for two clarinets — Pleyel — Messrs. Dubois and Beranger

Song '\^Tiile successful proves the gale' Mr. Marshall

Concerto Violoncello — Duport Mr. Menel

Song 'Fragrant chaplete' [!] — Saheri Mrs. Marshall

Act II

Overture to Alexis and Justine Gretry

Concerto Pianoforte — Pleyel Mr. Guenin

Song 'This beauty commands me, my heart

must obey' IVIr. Marshall

Concerto Clarinet — Michel IMr. Dubois

Song 'Amidst the illusions' — Shield Mrs. Marshall

To conclude with Kotzwara's 'Battle of Prague',

arranged for a fuU band by Schetky

Strikingly different in character was the program of the very popular
singer Miss Broadhurst on her benefit night at Oeller's Hotel, December 11th:

1) Porcupine's Gazette, April 21, 1798.

2) Porcupine's Gazette, Dec. 1, 1798.

— 149 —

Act I
Overture

Song 'Ellen arise' Miss Broadhurst

Quartette

Song IVIr. Darley

Duet — Violin and clarinet Messrs. Collet et Dubois

Italian [song] — i non piange [!] Miss Broadhurst

Part II
Overture
Song "The new somebody", composed by B. Carr Miss Broadhurst

Sonata, Pianoforte ]VIr. B. Carr

Song Mr. Darley

Concerto Clarinet Mr. Dubois

New song 'The Flower girl' Miss Broadhurst

Glee, three voices, 'Sigh no more ladies'.

For 1799 I traced only three benefit concerts but all three show the
strange fascination which in those days Kotzwara's insipid 'Battle of Prague'
in the orchestral arrangement by Schetky must have exercised upon the
pubUc, a popularity, however, shared temporarily by Chateaudieu's Medley
overture with the President's March (a reminder of 'Hail Columbia') as
ingredient. The three programs though they did not enlarge the repertory
may follow as a matter of record.

Mr. Dubois offered on February 26, 1799 1) at Oeller's Hotel in

1st Part

Overture of Iphigenie Gluck

Song Mr. Marshall

Concerto Flute, Devienne ]VIr. Declang

Song Mrs. Marshall

Concerto Violin IVIr. GiUingham

2d Part
Medley Overture, with variations, in which is
introduced the favourite air of the Presi-
dent's March INIr. Chateaudieu

Grand ariette from L'Amant Statue2), arranged
for two clarinets, two French horns and two
bassoons. The principal part executed by !Mr. Dubois

Concerto Pianoforte Mr. Guenin

Song ]VIrs. Marshall

Concerto Clarinet, Mchel IVIr. Dubois

To conclude with the Battle of Prague arranged

for a full band by Shetky

The music will be conducted by Mr. GiUingham. After the Concert a Grand Ball.

Then came Mr. Louis Boullay on March 2bih.^) with his "Grand concert
vocal & instrumental" and it is very doubtful whether any other paper

1) Bache's Aurora, February 19, 1799.

2) Dalayrac.

3 Bache's Aurora, March 2, 12, 15, 1799. The concert was postponed from March
12 to March 16 and then to March 25 "on account of the performance at the theatre".

— 150 —

except Bache's Aurora would have dared to insert, as was done, Boullay's
original announcement in French i), though party feelings for and against
France no longer ran as high as in 1798. Mr. Boullay "a I'honneur de prevenir
les amateurs de musique que son concert est fixe pour le 12 Mars prochain",
we read but, as if to off set any indignant criticism, immediately below the
appeal is translated into English and the program, too, is given in English !

Overture

A Song 'The Galley slave', by a young lady six

years old^)
Duett, by Messrs. BouUay and Dubois .. .. Michel

Concerto (vioUn) by Mi". Boullay Giarnowick

Medley overture, in which is introduced the

favorite air of the President's March .. .. Mr. Chateaudun^)

Song, by Miss Corry Storace

Variations on the violin Mr. Boullay

Ariette

Concerto Clarinet, Mr. Dubois Michel

Full piece. Battle of Prague Schetky

It will have been noticed that during the last years of the eighteenth
century gradually more care was taken to distinguish the composers from
the performers. "The band, late of the New Theatre", however, when
announcing a benefit at Oeller's Hotel for April 11th*) somewhat relapsed
into the former habit of not making the distinction, a habit so unmindful
of historians and bibliographers:

First Part
Overture to Henry IV^)
Symphony concertante for two clarinets —

Messrs. Dubois and Wolfe — Pleyel

Canzonet 'My mother bids me', accompanied by

]Mr. Guenin on the Pianoforte Miss Broadhurst

Concerto Violin — Giarnowick IVIr. Collet

Second Part.

Medley Overture IVIr. Chateaudun

Concerto Pianoforte ]VIr. Guenin

Song 'Spirit of the Blest', accompanied on the

Clarinet by i\ir. Wolfe Miss Broadhurst

Concerto Clarinet IVIr. Dubois

To conclude with the Battle of Prague. Arranged

for a full band by Schetky

. . . The ball to commence immediately after the concert.

1) About 1790 it was quite customary, especially in Maryland, to insert advertise-
ments in French.

2) If this was Miss D'Hemard, the young lady began surprisingly early to hide
her age.

3) The name is spelled in different ways, and it is difficult to ascertain the correct
spelling. I incline to Chateaudieu.

4) Bache's Aurora, April 9, 1799.

5) Martini.

— 151 —

The nineteenth century possibly was ushered in by Miss Broadhurst's
benefit concert at the City Tavern on April 3, 1800 1) with a bewildering
array of vocal talent. The program was in keeping, being perhaps the
most miscellaneous ever offered to the public of Philadelphia:

Part First.

Overture Haydn

Glee, 3 voices, 'Ask why a blush' .. .. Taylor

Duet 'How sweet is the morning' (Carr) .. .. Mr. Carr and Miss Broadhurst

Song 'When war begins' (Shield) Mr. Darley

Recitation 'Mrs. Thrale's three warnings'.. Mr. Bernard

Song 'Primroses deck' (Linley) Mr. Warrel

Concerto Viohn IVIr. Gillingham

Song 'Let me wander etc. or let the merry

bells' Miss Broadhurst

Chorus 'And you and old come forth to play' Handel

Part second

Overture, Circe and Ulisses Taylor

Song'Pity thenmy torturedheart'(Giordani) Miss Oldmixon

Duet 'Together let us range' (Dr. Boyce) Mr. Taylor and Miss Broadhiirst

Recitation. A dramatic vision of the court

of Thespia Mr. Bernard

Song 'The spirits of the blest' (Carr) .. .. Miss Broadhurst

Sonata Pianoforte Mr. Reinagle

Comic song 'I wonder at you' (Taylor) .. Mr. Taylor

Comic glee 'Wives and husbands' Hook.

Finally may be mentioned Mrs. M'Donald's benefit at the 'Centre House
Gardens' on August 11th 2). The program arouses interest merely for the
fact that it allowed an ample display of "martial music", that is to say of
so called band music which gradually and owing to general conditions grew
on the average American as no other instrumental combination could and
the stimulating, educational influence of which should not be underestimated
in a future comprehensive history of music in America:

Part I.

Overture by Pleyel

Duet 'How sweet in the Woodlands',

Mrs. M'Donald and Mr. Devis (for that night only)
Martial music by the band

Song 'Be quiet, for I'm in haste' Mrs. M'Donald

Overture Bache [!]

Song 'Lash'd to the helm' Mr. Devis

Overture Arne

1) General Advertiser, March 31, 1800.

2) General Advertiser, Aug. 11, 1800.

— 152 —

Part II.

Overture Haydn

Song 'Two bunches a penny, primroses .. Mrs. M' Donald
Martial music, by the band

Song 'Saturday night at sea' Mr. Devis

Comic song (for that night only) .. .. Mr. Rowson

Martial music by the band

Duet 'Rise, Cynthia rise' ]\Irs. M'Donald and IVIr. Devis.

To complete the record of concerts given at Philadelphia before the
nineteenth century we must retrace our steps to the years immediately
following the war when the concert life of the Quaker City seemed full of
promises subsequently not quite fulfilled. It was the period when theatrical
performances were under ban of law. Pennsylvania, by adopting a recom-
mendation of Congress in 1778, had probited them altogether and this law
remained in force until 1789 when, thanks to the energetic propaganda of
the Dramatic Association founded in January 1789, it was repealed^).

To pass such a narrow-minded law is easy enough but to enforce it is quite
a different matter, especially if distasteful to a powerful minority. Con-
sequently when Mr. Henry and Mr. Hallam, first separate and then in
partnership, attempted a revival of the American Company of Comedians
after the war, they found a strong support in this minority who feared
no ruin of public morals 'from the theatre. Of course, the managers could
not openly oppose the law but this law, like all laws, had its loop-holes
and hence they found no difficulty in evading it. It was merely a matter
of disguise and to the frequenters of the theatre it made precious little
difference whether plays were announced as 'Lectures, moral and entertaining',
'Lectures being . . . entertainments of representation and harmony', as
'Spectaculum vitae' or what not as long as the legislaters were duped. How
the managers gradually felt their way until they boldly came out with
regular theatrical performances under the most ludicrous disguises concerns
us in this volume in so far only as their efforts contributed to the develop-
ment of a concert life at Philadelphia.

From the beginning of this amusing crusade against the PhiUstines the
'Lectures', etc. "were properly diversified with music, scenery, and other
decorations" 2), and from this to the use of such an innocent looking title
as 'Concerts' was "but a short step. That music has charms to soothe the
savage breast even of lawmakers, Messrs. Hallam and Henry experienced
when their performances of operas as operas did not worry the watchful
eye of the authorities and they, as wise men, preferred to call their theatre

1) For further particulars see the second volume of George 0. Seilhamer's monu-
mental History of the American Theatre, 1896.

2) Pa. Packet, April 10, 1784.

— 153 —

located in the Southwark, an Opera House. Thus it came to pass that the
popular plays of the time were given at an Opera House incidental to con-
certs. One example will suffice to illustrate how ingeniously and amusingly
the trick was turned. For instance, we find in the Pennsylvania Journal,
June 21, 1788 this announcement:

OPERA HOUSE, SOUTHWARK.
On Monday the 23d of June, will be presented a Concert, between the parts of
which will be delivered (gratis). A Comic Lecture in five parts, on the disadvantage
of Improper Education exempUfied in the History of Tony Liilmkin.

It seems that some persons interpreted the gratis very much to their own
advantage for the managers on September 17 took occasion to remark that

"the . . . lectures will be delivered (gratis) paying only for admission
to a Concert".

That these concerts were merely sham-concerts goes without saying
and it is even doubtful whether more pieces were played than when music
was merely used to lessen the ennui of the audience between the acts. The
whole arrangement simply resolved itself into this that the "Zwischenakts-
musik", so absurdly dear to Americans, was promoted to the official raison
d'etre of the entertainments with the plays ostensibly as incidental, generous
supplements. As a rule, this undoubtedly was true, but occasionally the
music appears to have assumed the scope of a real concert. Again one
program will be sufficient to illustrate the point. On January 13th, the
Pennsylvania Packet announced for the same evening,

A CONCERT OF MUSIC.

Vocal and instrumental: Between the several parts of the concert will be delivered.
Lectures, Moral and entertaining

First Act

Symphony Kammel

Rondeau Mr. Phile

Prologue and Lectures

Second Act.

Song IVIr. Wools

Lecture

Song Mr. Harper

Overture Ditters

Fisher's minuet. Clarinet Mr. Wolfe

The whole to conclude with a grand
pantomimical finale in two acts, called
Robinson Crusoe.

It may be doubted if these sham-concerts contributed perceptibly to

the development of Philadelphia's concert life. This certainly was not the

object of the managers who, as soon as the repeal of the anti- theatre law

became effective, immediately threw off the disguise and discontinued the

practice of giving concerts at the theatre. It never seems to have entered

— 154 —

their mind that this practice might be made profitable in imitation of the
custom then and still prevailing in European countries. In fact, not until
1793 were concerts again given at a theatre and then merely as a matter of
expedience and necessity, though, of course, no longer in evasion of
pedantic laws.

Differences had arisen in 1791 between Hallam and Henry, the managers
of the Old American Company and Thomas Wignell. This actor then inter-
ested moneyed people in plans for a 'New Theatre' to be built in Chestnut-
street with the result that a stock company was formed with Wignell and
Alexander Reinagle as artistic managers. The erection of the house pro-
ceeded rapidly. It was "allowed by judges to be, in elegance and con-
venience equal to most and superior to many in Europe" and it was "com-
puted that it would, with perfect convenience, hold 2000 people, or about
600 pounds"!). Naturally, expectations ran high and the stockholders,
as stockholders wiU do, became impatient especially after they had received
in January, 1793 2) an opportunity to see the not quite completed interior
modelled after the theatre Royal at Bath. Presumably because these
gentlemen were so anxious to see their investments bring substantial returns
at the earliest possible date, Alexander Reinagle decided to open the New
Theatre with a series of three public concerts with the band and such mem-
bers of the company as were already available. These concerts took place
on February 2, 4 and 7, 1793. The programs of the first and last will show
them to have been somewhat on the order of what we call to-day popular
concerts, though the contemporary announcements styled them "grand".
The Plan of the Concert on February 2d was this :^)

Act I

New Overture Mr. Reinagle

Song 'On by the spur of valeur' .. .. Mr. Chambers

Concerto VioUn Mr. BouUay

Song 'Kiss me now or never' Mrs. Morris

Quartetto des petits airs Messrs. Petit, Boullay, Mallet

and Gehot

Song 'Poor Tom BowUng' Mr. Harper

Sonata Piano Mr. Reinagle

Glee 'Sigh no more ladies' Messrs. Chambers, Harper

and Reinagle.

Act II

Grand Overture Haydn

Italian Song Mr. Mallet

Sonata, Pianoforte Mr. Guenin

Song 'My Poll and my partner Joe' Mr. Harper

1) Federal Gazette, Jan. 29, 1793.

2) Federal Gazette, Jan. 28, 1793.

3) Dunlap's Daily American Advertiser, Jan. 2 and 7, 1793 and Federal Gazette,
Feb. 2, 1793.

— 155 —

Sonata, Harp Mr. Salomon

Song, 'A Smile from the girl of

my heart' Mr. Chambers

Sinfonia concertante Messrs. Petit and BouUay

Act III

Sinfonia Stamitz

Song 'Blythe ColUn' IVIrs. Morris

Concerto Violin Mr. Petit

Song 'Cottage Boy' Mr. Chambers

Glee 'How merrily we hve' .. Messrs. Chambers, Harper and

Reinagle
Between the first and second act, a Dance, in the character of Harlequin, by Master
Duport. To conclude with a Grand Dance, called 'La Noble, or Henry the Fourth,
by Master Duport.

The doors to be opened at 6, and the performance to begin precisely at 7 o'clock.
Places to be taken and tickets to be had at the theatre every day from 10 till 5 o'clock.
Boxes 7 5 6. Pit 5 s. 772- Gallery 3*9.

For Februar 7th the program read:

Act I.

Grand Overture Haydn

Song Mr. Chambers

Concerto Viohn Master Duport

Duetto, for two voices Mrs. Morris and Mr. Reinagle

Hunting song 'While over the

mountain's brow' Mr. Harper

Sonata Pianoforte ]Mr. Reinagle

Glee'Lightly tread, 'tis hallow'd

ground' Messrs. Chambers, Harper and

Reinagle.
Act II.

Quartetto (Pleyel) Messrs. Petit, BouUay, Mallet

and Gehot

Duetto, 'From Morn till night' ]\Iessrs. Chambers and Reinagle

Concerto Clarinet Mr. Foucard

Song 'Poor Tom Bowling' .. .. Mr. Harper, Chambers and Reinagle

Act III.

Overture IVIr. Reinagle

Song 'Wives and sweet hearts' .. ]\Ir. Harper

Concerto Violin Mr. Petit

Song 'The Traveller benighted' Mrs. Morris

Finale Stamitz

It would have been surprising, had the opening of the New Theatre
passed without receiving attention from the press and Mr. Seilhamer was
mistaken if he claimed this to have been the case. As a matter of fact,
the Federal Gazette printed on Feb. 4, 1793 a detailed description of the
theatre and then added this rather primitive criticism of the concert:

Last Saturday evening it was first opened to the public with a grand Concert of
vocal and instrumental music and notwithstanding the inclemency of the evening,
a large number of citizens appeared in every part of the house — the boxes exhibited
a blaze of beauty — the pit was a display of respectable jugdes and the gallery was

— 156 —

filled with orderly, well disposed citizens whose decency of behaviour deserves the
greatest applause.

Mr. Reinagle introduced the evening's entertainment with a charming overture
on the harpsichord!) — after which Mr. Chambers' 'On by the spur of valeur', 'Sigh
no more ladies' and 'the Cottage boy etc' gave great satisfaction. Messrs. Boulay,
Mallet and Guenin's performances on the viohn were exquisite and Mr. Saloman's
Sonata on the harp gave infinite pleasure. But of all others that part of the enter-
tainment, wherein Mrs. Morris' abilities in 'Kiss me now or never' and Master Duport's
dancing came in, seemed to afford the most attractingly delightful sensations. — Indeed
upon the whole, this theatre may be esteemed a place of the most rational amusement
that have ever been exhibited to the attention and protection of the public in these
United States.

After these concerts the theatre remained closed until re-opened on Fe-
bruary 17, 1794 with a performance of Shield's opera 'Castle of Andalusia'
and Mrs. Cowley's comedy 'Who's the dupe'.

The musical life of Pennsylvania outside of Philadelphia was exceedingly
primitive and remained so, far into the nineteenth century. To be sure,
in the Swedish and German settlements church music made part of the
service and these settlers, as a matter of course, brought their nursery songs,
folk songs, fiddles, German flutes etc. with them, in short musical instincts
and interests, but all this did not go far towards creating a musical Ufe
and a few stray concerts, as for instance that "held in the Swedish Church
on Darbyroad, six miles from the city" on Oct. 9, iSSS^) consisting of vocal
and instrumental music "with an oration on Civic Liberty" or the three
concerts given during the summer of 1794 by a "small but select" band with
the singers Darley and Miss Broadhurst as soloists at Lancaster, are not of
much account 3). It would particularly be out of place in tracing secular
music to examine that exotic musical weed reared by Conrad Beissel and
his associate mystics at the Ephrata cloister. It was a curiosity at its best
and exercised no influence on the development of music in Pennsylvania.

Only in one settlement outside of Philadelphia flourished anytliing like
a musical Hfe and there the love of music was so deeply rooted as to make
the town in course of time the center of the American Bach cult. When
founding Bethlehem in 1741 the Moravian Brethren brought with them

1) Of course, Reinagle conducted this overture from the harpsichord, a procedure
which our amateur-critic seems to have considered a solo.

2) Federal Gazette, Oct. 7, 1788.

3) See 'Travels in the United States of America, commencing in the year 1793,
and ending in 1797 ... by WiUiam Priest, musician late of the theatres Philadelphia,
Baltimore and Boston', London ,1802. (This scarce book, by the way, deals with a
general description of America and contains next to nothing of interest to the musical
historian.) Perhaps I have underestimated the musical importance of Lancaster in
those days, for it is a fact that a music dealer by the name of Hutter had a sufficient
demand for German music to enter into business relations with Breitkopf & Haertel
of Leipzig as early as 1799 or 1800. Thus the famous firm invaded America more
than a century ago as a perusal of their archives, courteously undertaken at my request,
proved to their and my surprise.

— 157 —

from Germany a natural love of music and this love has ever since remained
an inheritance jealously guarded 'by both sexes. The settlement soon be-
came famous for its musical athmosphere. Frankhn, Washington, Samuel
Adams and other prominent men of Colonial Times when visiting Bethlehem
were deeply impressed by this musical athmosphere and their diaries and
letters vividly testify to this impression. But whereas in Philadelphia,
Charleston, New York and Boston the musical life was mainly an offspring
from English conditions, the German influence predominated in this and
other Moravian settlements. Furthermore, while the fame of Bethlehem's
music soon spread, her musical life never exercised a noteworthy influence
beyond her own bounderies. Within however, music brought joy and con-
tentment to young and old, music dwelled in the houses, in the church and
in the fields among the toilers, in short was essential to the daily life of
these sturdy people. This cannot be doubted if one reads Rufus A. Grider's
'Historical Notes on music in Bethlehem, Pennsylvania. From 174:1 to
1871' (Philadelphia, 1873). Unfortunately this valuable book, possibly for
lack of authentic documents and traditions, rapidly passes over the more
secular aspect of the musical hfe of Bethlehem during the eighteenth century.
However, we are told that shortly after the foundation, and before 1750,
a Collegium Musicum was formed which existed for many years. Though
the members of the Collegium assisted in the weekly serenades ending oddily
enough in the graveyard with the improvised singing of hymn- tunes, it goes
without saying that the club, if it deserved its name at all, cultivated secular
music at least as much as sacred and if the orchestral parts to works by
Alberti and others as preserved in the hbrary of the Philharmonie Society
originally belonged to the Collegium Musicum we need no further corrobora-
tion of this opinion. The very name would imply, by way of analogy mth
conditions in Germany, informal gatherings of the active and associate
members of the club at regular intervals when they would form or deepen
acquaintance with orchestral, concerted or solo chamber music. In short,
amateur-concerts without pretensions as to perfect rendition but covering
a wide range of the best music of the age^).

1) It would be interesting to know if the orchestra at Bethlehem was composed
of both sexes as at Herrnhut, where, as Busby says in his 'Concert room and orchestra
anecdotes', 1825, in the band of 40 or 50 persons the ladies played the violin, violon-
cello, flute and other instruments as well as the men, from whom, however, they sat
strictly separated!

NEW YORK ').

In tracing the beginning of a concert-life in New York, the historian is com-
pelled to again call attention to the scarcity of sources and hence to
the hmited reliabihty of his statements. Though William Bradford's New
York Gazette appeared in 1725, the first eight years of this paper are prac-
tically of no assistance to us as only very few numbers have been preserved.
We would rather miss a few numbers after Zenger's New York Weekly
Journal appeared in November 1733 than be helpless for the years
1725 to 1733 for, even if no consorts were given before 1725 the non-
existence (for all practical purposes) of the Gazette during those years
would leave it open to doubt whether the first concert announced in
the existing files was really the first. This concert took place in 1736
unless earUer advertisements escaped my attention, a sin of omission for
which no person who has handled our old newspapers, will condemn me too
severely. Still, the concert announced in 1736 cannot have been the first
as becomes apparent from a poem printed among the local news of the
Gazette, December 24 — 31, 1733:

Written at a Concert of Music where there was a great Number of Ladies.
Music has Power to melt the Soul:
By Beauty Nature's sway'd
Each can the Universe controul
Without the other's Aid:
But here together both appear
And Force united try
Music inchants the listning Ear
And Beauty charms the Eye.
What cruelty these Powers to join!
These transports who can beat!
Oh! Let the Sound be less divine
Or look, ye Nymphs, less fair. [!]

The name of the musician for whose benefit the concert of 1736 was
advertised is familiar to the reader: Charles Theodore Pachelbel who by
the year 1737 drifted as far South as Charleston. He advertised in the

1) Population: 1731—8628; 1773—21876; 1790—33181; 1800—60489 inhabitants

— 159 —

New York Gazette, Jan. 6 — 13, 1736 and in the Weekly Journal on "Mon-
day", Jan. 12th:

On Wednesday the 21. of January Instant there will be a Consort of Musick, Vocal
and Instrumental for the Benefit of Mr. Pachelbell, the Harpsichord Part performed
by himself. The Songs, Violins and German Flutes by private Hands.

The Consort will begin precisely at 6 o'clock in the House of Robert Todd, Vintner.
Tickets to be had at the Coffee House and at Mr. Tood's at 4 Shillings.

He used almost literally the same form of advertisement in the Weekly
Journal, March 8, 1736 for a concert on the following day. Either Mr,
Pachelbel believed in mental economy or he found himself obliged to post-
pone the January concert.

Strange to say, there occurs a gap of about eight years between these
two concerts and the next. This may be explained in three different ways.
Either others escaped me, or none were given, or they were given but the
newspapers had not yet come to be considered an equally effective adver-
tising medium as the street-crier or the house-to-house distribution of ir-
resistible broadsides. At any rate, 1 did not trace a further concert until
the New York Weekly Post Boy announced on Dec. 31, 1744 a concert of
vocal and instrumental music for the benefit of Mr. John Rice, the organist
of Trinity Church i), on Wednesday, Jan. 2, 1745 at Eobert Todd's house.
Tickets at five shillings each were to be had at both coffee-houses — evidently
New York was fast becoming a metropohs — and the concert was to begin
at the rather unusual hour of five o'clock. Of the program nothing is said.

Then came another long gap of five years, when a Mr. Quin gave a concert
on Oct. 19, 17492), at the Court Room of the City Hall. Again several
years elapsed wdthout any of the musicians who permanently or temporarily
settled at New York appearing to have risked a benefit. Then Charles
Love, the harpsichordist in Hallam's theatrical company which came to
New York in 1753 and whose wife was prominent as ballad opera singer in
the same company, advertised a concert during the summer. The entertain-
ment, however, did not take place until the following January as appears
from an advertisement in the New York Mercury 1754:

For the benefit of IMr. Charles Love, at the New Exchange Ball Room, on Thursday
the 24:th instant, will be a Concert of vocal and instrumental Musick. To which will be
added several select pieces on the hautboy, by ]Mr. Love. After the concert will be
a Ball. Tickets at 5 s each, to be head of Mr. Love ; at the King's Arms ; and at Parker's
and Gaine's printing office. Tickets given out last summer by Mr. Love, will be taken

1) In Mr. Morgan Dix' 'History of the Parish of Trinity Church', 1898—1906
we read that on Nov. 6, 1744 it was "voted to pay Colonel Moore the five guineas ad-
vanced to Mr. John Rice to come over here as organist, also to pay the passage of the
said John Rice from London to this place". Subsequently, in 1753, John Rice appears
as organist of Trinity Church in Boston.

2) It was advertised in the Weekly Post Boy, Oct. 2, 1749 for Oct. 12th, but was
postponed.

— 160 —

that night. Mr. Love hopes that gentlemen and ladies will favour him with their good
company.

The next to appear on the New York concert stage was a musician of

unquestionable abihty and who during the next twenty years did much

to raise the standard of church music in New York: Wilham Tuckey. As

the inscription on his tombstone in tlie burial grounds of Christ Church,

Philadelphia reads i):

"To the memory of. Mr. William Tuckey who was born in Sommersetshire in
England and died September 14th, 1781 in the 73d year of his age."

it follows that Tuckey was born about 1708. That he held the position of
Vicar Choral in the cathedral of Bristol and the clerkship of a parish in the
same city before he came to New York appears from the first adver-
tisement referring to Tuckey in the New York papers. It is so characte-
ristic that I cannot refrain from quoting it as printed in the New York
Mercury, March 11, 1754:

WILLIAINI TUCKEY, Singing Master, desires to inform all lovers of Psalmody
that in order to encourage and amend the singing in publick congregations in this
city, all persons may be taught by him on very reasonable terms. As a great expecta-
tion of encouragement in this way, was the only motive which induced him to leave
the cathedral of Bristol, where of he was for several years a vicar choral, and clerk
of a parish also in the said city, places of considerable profit and on an establishment
both for life; and not meeting with the encouragment he expected, is resolved to
teach here no longer than one year more, which may be depended on: And as there
is no person in this country duly qualified in the musical way, who has made a practice
of teaching but himself, not only in church musick, in all its branches, viz. Services,
Anthems, Chaunts, Responses and Psalms, according to the English, Dutch, French
or Italian method ; but also in the knowledge of a thorough base, and composing musick
in parts both vocal and instrumental; management of musick for concerts, etc. he
humbly hopes, through this information, to meet with better encouragement, or at least
to establish the singing of parochial Psalms on a better and perfecter foundation than it
hath been for some time past. He will undertake to compose or set to musick any piece
on any subject, divine or moral, either in prose or verse, and adapt the musick according
to the sense of the subject, for either a single voice, two, three, four or more voices, and
for any sort of instruments, with or without a thorough base, for the organ, harpsichord,
or spinnet, on application to him, and a moderate satisfaction. Specimens of his com-
posing may be seen at any time, by any gentlemen or ladies, who desire it, and under-
stand musick, he having several pieces for three, four or more voices, accompanied
with almost all sorts of instruments, and his own composition.

The exact date of WilUani Tuckey's arrival at New York is unknown
but as on Jan. 31, 1753 it was

"ordered that Wilham Tuckey (who is appointed by the Rector to officiate as
Clerk jointly with Mr. Eldridge till further order) be allowed the annual salary of twenty-
five pounds from the first of this month"^).

1) Edwart L. Clark, Record of the inscriptions on the tablets and gravestones
in the burial grounds of Christ Church, Philadelphia, 1864, p. 34.

2) See Dix, op. cit., I, p. 154 etc.

— 161 —

it may be surmised that he arrived during January 1753, provision also
having been made by the vestry for the transportation of his wife and children
who were to follow him.

Though Trinity Church possessed an organ and though church music
had been cultivated for some time past in the parish, the conditions were
primitive, principally owing to the absence of a really well trained choir.
Now a Charity School had been founded in 1739 in close connection with
Trinity Church and Tuckey was quick to see his opportunity. He evidently
soon after his arrival impressed the vestry with the necessity of teaching
the charity- children vocal music if the standard of music in the church was
effectively to be raised. Accordingly it was voted on March 16, 1753 that
he was to have the use of the Charity School room and also of the vestry
room two nights of the week "for the teacliing of his singing scholars".
The wisdom of this decision soon became apparent and Mr. Dix, the historian
of Trinity Church, asserts that Tuckey' s conscientious and experienced
efforts gradually gave to the church a choir of which the parish felt proud
and which became noted even outside of New York. The statement is all
the more interesting as in 1756 Tuckey was summarily discharged from
the office of parish clerk in consequence of his "refusal to officiate in time
of Divine Service". However, if thereafter his name disappears from the
vestry minutes, he continued to act as musical instructor in the service of
the parish. Mr. Dix merely admits this as a possibility but on the basis
of subsequent events we must agree with Mr. Krehbiel who maintains that
"his connection with the music of the church and its chapels lasted much
longer than 1756" i).

These few remarks may serve as an introduction to his announcement
in the New York Weekly Post Boy, December 15, 1755 of a benefit concert
in conjunction mth WilUam Cobham, musician and dealer in "bear skins,
spotted ermin, white and yellow flannels . . ."2).

For the benefit of IMessrs. Cobham and Tuckey, at the New Exchange on Monday
the 29 instant; will be a Concert of Vocal and Instrumental musick. Among a variety
of select pieces, both vocal and instrumental, wiU be performed, the celebrated dialogue
between Davion and Chloe, compos'd by J\ir. Arne. A two part Song, in Praise of a
Soldier, by the late famous Mr. Henry Purcell. An Ode on Masonry never perform'd
in this country, nor ever in England but once in pubUck. And a Solo on the German
flute, by Mr. Cobham.

Tickets to be had of ^Mr. Cobham, in Hanover Square; of Mr. Tuckey near Mr.

1) Henry Edward Krehbiel in an article on "Music in Trinity Church", N. J.
Tribune, July 26, 1903. This article, based on material furnished by Dr. H. H. Messiter,
who spent a long time in preparing a history of music in Trinity Church, is one of a
splendid series of articles on 'Early church music in New York', N. Y. Tribune (Sundays)
Middle of June to middle of October, 1903.

2) N. Y. Mercury, Oct. 23, 1758.

Sonueck, Early Concert Life. 11

— 162 —

Willet's, at the New York Arms ; and at the King's Arms ; and at the new Printing
Office in Beaver Street at 5 « each.

To begin precisely at six o'clock. After the concertthere will be a Ball for the
ladies.

The same announcement appeared in the New York Mercury, De-
cember 8th, but in program form and with this additional notice:

As it is conjectured that there wiU be a very full house, the managers of the con-
cert humbly request the ladies and gentlemen who are pleased to favour them with
their company that they would be pleased to apply for their tickets in time that the
company may be as agreeable to them as possible.

Unquestionably the Ode on Masonry was a composition by WiUiam
Tuckey and unless it suffered too severely in the neighborhood of Arne and
Purcell, it may be conjectured that it, too, pleased the audience immensely.
In the following year the concert-goers of New York were called upon
to listen to good music "for the benefit of a poor widow". We read in the
New York Mercury, March 8, 1756:

On Thursday the 18th instant, will be open'd at the City Hall in the City of New
York, a New Organ, made by Gilfert Ash, where will be performed, a Concert of Vocal
and Instrumental Musick. In which, among a variety of other selected pieces, will
be introduced a song, in praise of musick, particularly of an organ ; and another favourite
song, called 'The Sword that's drawn in Virtue's cause, both compos'd by IVIr. Handel.
An Organ Concerto, compos'd by Sigr. Giovanni Adolfo Hasse.

It's hoped, lovers of harmony and charitable designs, will freely promote this
undertaking; thereby making their recreations the means of purchasing blessings to
themselves, and administring comfort to the affUcted heart, and relief to the distressed.

Tickets at five shilling each, to be had at Mr. Cobham's . . . and at Mr. Ash's,
joining Mi\ Willet's in WaUstreet ; who continues the business of organ building by
whom gentlemen and ladies may be furnished with that noble instrument, in a con-
venient time after it is bespoke.

This appeal to the lovers of harmony and charitable designs was made
stronger by bringing the heart softening influence of — very bad — poetry
into action. On March 15th the Post Boy Avith the ever obliging courtesy
of the newspaper editor published the following communication:
Sir,
Please give the following lines a place in to-morrow's paper, to obhge Yours, A
Friend.

Sure Music's powerful Charms can never plead!
The cause of Poverty — and not succeed,
While that to snatch the Friendless from Despair,!
To glad the Widow, and relieve her Care,
To guard the Orphan, and its Intrest save.
Are Actions just, commendable and brave:
Then may each feeling Heart, whom Affl'ence bless
Its Labours crown (next Thursday) with Success.

Musicus.^
Sure, music's powerful charms, the cause of poverty, a new organ by a
fellow citizen and an organ concerto by the famous 'caro Sassone' were at-
tractions enough to crown the labours of the musici with success on that
memorable Thursday,

— 163 —

Unless the concerts enumerated were really only sporadic efforts, the
very silence of the papers should, to repeat it, make us suspicious and I,
for one, am inchned to doubt that the papers recorded all the concerts given.
If actually during the years 1750 to 1754 no concerts took place, this may
possibly be explained by the fact that just then several serious attempts
were made by the companies of Thomas Kean, Eobert Upton and WilUam
Hallam successively to interest New York in theatrical performances. As
they included favorite ballad operas like the Beggar's Opera and the Devil
to Play, possibly the interest in opera temporarily absorbed that in concerts,
a phenomenon not unprecedented in the annals of music. The same ex-
planation may hold for the short theatrical season of 1758 — 1759 but it does
not carry much weight for the years 1755 to 1758 or 1759 to 1760. If, after
all, only a few stray concerts were given in pubhc at New York during those
years, New Yorkers may find consolation in the fact that even in larger
and more musical European cities with incomparably greater musical op-
portunities, pubhc concerts were none too numerous.

After the concert of March 18, 1756, probably the first given at New York
for charity, the newspapers again fail to offer clues until 1760 when we hear
of the first subscription -concert. The advertisement, in the New York
Gazette, Jan. 14, 1760, reads:

This is to give notice that the Subscription Concert will be opened on Thursday-
next, the loth instant, at Mr. Willet's Assembly Room, in the Broad Way.

N. B. Those gentlemen that intend to subscribe to the said concert, are desired
to send their names to Messrs. DienvaU) and Hulett2) who will wait on them with
tickets, for the season.

It is to be regretted that the newspapers contain no further reference to
this enterprise. I even failed to ascertain whether it was continued during
the following year. If so, then the following characteristic announcement
of a "pubhck and weekly concert of musick" in the New York Gazette,
May 24, 1762 would prove that this was the third season. The fact that
the concerts of 1762 were managed by Messrs. Leonard^) and Dienval need
cause no apprehension as during the following seasons Mr. Hulett again
appears to have been at the helm. The announcement reads :

This is to give notice to all gentlemen and ladies, lovers and encouragers of musick,
that on Thursday next being the 27th instant, will be opened by Messrs. Leonard and

1) Alexander V. Dienval probably was first mentioned in New York papers in
1759 when he gave "notice that the violin and German flute are taught in the space
of two or three months each" (Ben Akiba!). In November 1759 he, W. C. Hulett and
the watchn:aker-musician Procter opened a kind of music school where these instru-
ments and the harpsichord were taught daily "from twelve till eight in the Evening".

2) William C. Hulett, actor, dancing and music master came to America in 1752
as violin player in Hallam's American Company.

3) Jacob Leonard is first mentioned at New York in December 1755 as dancing-
master.

11*

— 164 —

Dienval, Musick Masters of this City at Mr. Burner's Room, near the Battery A publick
and weekly Concert of Musick, where any ladies and gentlemen will be admitted, at
four shillings a ticket, which are to be had at the house of Mr. V. Dienval at the Upper
End of Broadstreet near the Old City Hall and opposite the Watch House; where he
continues to teach the viohn, German Flute, hautboy, French horn, bass violin, tenor
\Tiolin, etc. in the newest and best method . . .

The "concert for tlie season" was again "opened at Crawley's new Room"
in November 1762 and after the first night (a Tuesday) was to be continued
on every Thursday evening succeeding the Dan-cing Assembly^). Possibly
the year 1763 also had its concert for the season. Certainly subscription
concerts were given during the winter 1764 — 1765 as in a card "to the sub-
scribers to the musical concert the managers and gentlemen performers
considering that the sale of tickets may be attended with very disagreeable
consequences, have therefore proposed the following regulations. That each
subscriber be occasionally supphed by the managers — to be given by them
only to gentlemen strangers". This regulation was, of course, directed
against the indiscriminate sale of tickets to undesirable characters and the
managers desired in this way to prevent disgraceful acts of rowdyism as on
a certain occasion in those years at the theatre when eggs were thrown from
the gallery into the pit and on the stage. Such indecent behaviour was ex-
ceptional but it was a common occurence the world over to disturb public
entertainments by what the Italians wittily call "la musica dei palchi", the
chatter and laughter of the box holders and indeed of the whole audience.
Enough anecdotes are current to illustrate the point and it took con-
siderable time to break this time honored, vicious habit. Amongst those
who by their protests contributed towards that end was an A.B. who com-
municated a vigorous card to the New York Post Boy on December 27,
1764, apparently with the consent of the managers and gentlemen per-
formers. The rather long but very entertaining document reads:

To the Printer.
Sir, you will oblige a great number of your friends and constant readers, if you
will be kind enough to insert the enclosed in your next Thursday's paper.

Yours A. B.

It is a very just observation that a gentleman is to be known by his politeness —
this qualification, wherever it is to be found, convinces us that it's possessor has seen
the world and has had his marmei's formed by a good education. ■ — The poUte man
is always received with pleasure, while the contrary character, tho' under every advan-
tage of a gay appearance, never fail to strike with the disagreeable emotions of con-
tempt and disgust.

I am led into this short reflection by a circumstance, I can scarcely think of without
indignation. What I mean is the strange behaviour at the Concert, of a certain set of
males and females to whom, out of mere complaisance to their appearance, I will give
the soft appellation of gentlemen and ladies. — I am a dear lover of muisc and can't bear
to be disturbed in my enjoyment of an entertainment so pohte and agreeable. — How

1) N. Y. Mercury, November 8, 1762.

— 165 —

great then is my disappointment and vexation, when instead of a modest and becoming
silence nothing is heard during the whole performance, but laughing and talking very
loud, squawling, overturning the benches, etc. — Behaviour more suited to a hroglio
than a musical entertainment.

What is meant by so ill — timed an interruption — I know not; for tho' it may
be true that to Kich up a riot, is a liberal amusement, and particularly adapted to some
ladies, as it serves to attract the eyes of the other sex I am notwithstanding, pretty
certain there might be a more proper place than the concert room found out for that
purpose, for I cannot conceive that either the audience, or the gentlemen performers
an under any obUgations to bear those impertinencies — and I have an authority to
assure those offenders agaiilst decency that if they don't resolve to behave better
for the future; the managers and performers will be forced, either to leave all the per-
formance or be reduced to the disagreeable necessity of insisting on their absenting
themselves from a place where they do nothing but give offence; or if all this will not
cure the complaint, there are some thoughts of hiring the adjacent room for the con-
venience of such whose conduct will not bear the eye of the public. — -

It is presumed what I have wrote will not be taken amiss by the persons hinted
at — it is not their persons but their jollies which are become obnoxious. — \ v'hile we
are entering into laudable schemes for our improvement in the acts of oeconomy in private
life, a hint for the better regulation of our conduct in pubhc, cannot be unacceptable. —
It may at least tend to guard us from those improprieties, which very deservedly expose
us to the ridicule of every sensible stranger. This is the only end proposed by

X. Y. Z.

References to tlie subscription concerts of 1765^ though such were pro-
bably given, escaped me and of those during the winter of 1766 nothing was
said except that they began after several postponements on Dec. 18 at
Mr. Burn's Assembly Room and that "a subscription book was opened at
Mr. Hulett's, dancing master, who will wait on any gentleman, on notice
given"!). Equally meagre are the allusions to the season of 1767. The
Nev\^ York Journal merely mentioned on Feb. 12, 1767 that the, concerts
would begin on that day and continue during the season exactly at half
past six o'clock. Finally on Nov. 26, 1767, in the New York Post Boy, Mr.
Hulett acquainted his friends that there would be no pubHc concert that
winter and that instead music would "be in waiting for those gentlemen
and ladies that chuse country dances after the concert". Thus the enter-
prise died a natural death and not until December 10, 1773 was the Sub-
scription Concert revived at Mr. Hull's Assembly Room. For Dec. 4th
"in order that the whole may be conducted to the satisfaction of every
subscriber" a meeting was called "to adjust the necessary matters" with
a rehearsal to follow. It was then decided to give the first concert on Friday,
October 10th and afterwards fortnightly on Thursdays 2). As the subscrip-
tions were to be taken in at Hulett's we may surmise that he managed the
entertainment. "By desire" the concert of January 4, 1774 was to be fol-
lowed "for that night only" by a ball and it is pretty certain that on this

1) N. Y. Journal, Nov. 20; Dec, 4, Dec. 18, 1766.

2) N. D. Journal, Dec. 2 and 16; N. Y. Gazetteer, Dec. 9, 1773.

— 166 —

occasion the stefs Mr. Hulett taught and which WilHam Dunlap when writing
his History of the American Theatre many years afterwards still remembered,
were very much in evidence. It is also pleasant to record as a glimpse into
by-gone times that the concert of February 17th was deferred until the
following Monday "on account of a public breakfast, given by the gentlemen
who compose the Society of the Friendly Brothers". As the subscription
concert began at half past six in the evening, this breakfast must have
been a rather lengthy affair if it could interfere with the concert, or shall
we be indiscreet enough to suspect that the gentlemen performers who
attended the breakfast might not have been, after their convivial per-
formance, quite in a condition to tune their fiddles and read the music?

After that the concerts seem to have continued regularly until the se-
cond April concert Avas postponed from April 24th to April 28th; "that
night allowed to be a public concert for the use of Signiora Mazzanti, Mr.
Zedwitz and Mr. Hulett" i). The announcement then reads — and a quota-
tion is necessary because it refers to the existence of a musical society in
New York at so early a date:

"On which evening the Gentlemen of the Harmonic Society have been pleased to
promise their assistance and Signiora Mazzanti will sing several English and Italian
songs. After the concert proper music will be ready to wait upon such ladies and gentle-
men, as may chose to dance. Tickets at a dollar each, to be had of Mr. Rivington
and Hulett.

The subscribers will please to observe that to make amends for these interruptions
in the regular succession of the Subscription Concert, there will be after the above
advertised night, a concert weekly on Thursdays evenings."

The idea of giving open-air concerts during the summer gained root at

New York relatively early. The initiative belonged to a gentleman of the

euphonious but common name John Jones. As he himself gave the history

and a description of his enterprise, it is only fair to Mr. Jones to let him

have the floor. On June 3, 1765 he announced in the New York Mercury:

At the request of several gentlemen and ladies John Jones begs leave thus to ac-
quaint the public in general that Eenelagh [!] Garden^) will be open'd on Thursday
next (during the summer season) with a Concert of Mustek, (if the weather will permit)
and to begin precisely at six in the evening and will continue till nine ; the whole to be
conducted by Messrs. Leonard and Hullett. After the concert a small firework will
be play'd off, which will continue 'till ten: the whole to be managed with the utmost
regularity. As it is the first attempt of the kind ever known in those parts, he there-
fore hopes it will merit the applause of the gentlemen and ladies who will please to
favour him with their company.

Tickets for admittance to be had on Thursday next. Price 2 S 6 each.

N. B. Breakfasting from six in the morning 'till ten . . . Notice will be given in
this paper every week, of the continuance of this concert, and of the particulars.

1) N. D. Journal, April 14, 1774.

2) The famous Ranelagh (House and) Gardens of London were opened in 1742
and ceased to exist in 1803. The performances there were somewhat of the same cha-
racter as at Vauxhall Gardens.

— 167 —

These summer concerts lasted four years and then on March 6, 1769
Anthony Rutgers, Jun. advertised in the New York Mercury that there
were "to be let the house and about 18 acres of ground belonging to the
subscriber, known by the name of Ranelagh Gardens". Why the under-
taking, which seems to have been well supported by the public, collapsed
it difficult to tell. Perhaps "the indisposition of Mr. Jones", on account
of which the concert of vocal and instrumental music on July 28, 1768 was
deferred, had resulted in his death. However, as long as they lasted, these
Ranelagh Garden concerts with fireworks contributed much to the enjoy-
ment of the New Yorkers who, as Mr. Jones j^roudly claimed, judged his
place "without exception to be far the most rural retreat near the city",
"notwithstanding the artful insinuations of some ill-minded people to the
contrary"!). As if his feelings were wounded, Mr. Jones in this announce-
ment enumerated as special attractions — and his enumeration would have
pleased even a past master in the art of enumeration as Peter CorneUus'
immortal barber Abul Hassan Ali Ebe Becar:

"drawing rooms neatly fitted up; the very best of -wine and other liquors, mead,
filabubs, etc. with gammon, tongues, alamode beef, tarts, cakes, etc. and on notice
given, dinners or other large entertainments, elegantly provided as usual: strict regula-
rity at all times observed, and every accommodation studied to render this undertaking
highly agreeable and satisfactory, in grateful return for the many favours conferred
on the publick's obedient and very humble servant

John Jones."

As Mr. John Jones fully beUeved in the advantages of advertising we
may gain a fairly correct idea of the Ranelagh Garden Concert. The en-
trance fee was 2 s. but "during the scarcity of cash" in 1766 he decided at
the request of his friends that the tickets should pass at the bar for one
shilling, which were accounted for as so much cash paid for anything the
possessor was pleased to call for 2). The concerts usually began at 8 o'clock
in the evening but occasionally at seven and in 1768 Mr. Jones saw his
way clear to hold them twice a week^). He made it a rule that on a "bad"
evening the entertainment would be postponed to the following*). That
music really was, at least in theory, the main feature is emphasized by the
fact that the "genteel" fireworks were displayed between the "acts" of
the concert and not vice versa. Unfortunately no full program seems to
have been announced but we know that a "complete band of music" was
engaged^). The solo-numbers consisted of pieces played by Mr. Leonard
and others and the "vocal parts", a phrase of the day with which we have

1) N. Y. Mercury, June 30, 1766 and Aug. 26 1765.

2) N. Y. Gazette, Sept. 1, 1766.

3) N. Y. Mercury, Sept. 2, 1765, June 30, 1766.

4) N. Y. Gazette, July 20, 1766.

5) N. Y. Mercury, June 30, 1766.

— 168 —

become familiar, were lield by a Mr. Jackson in 1765, by "a young lady
who never performed in public before" in 1767 and after the return of the
American Company in the following and last season by such popular actor-
singers as Mr. Wools and Miss WainwTight who occasionally joined in duets
as for instance on June 11, 1768. Only once is the title of a particular piece
mentioned, when on July 4, 1768 Miss Wainwright was to sing by "par-
ticular desire" 'Thro the wood laddie'.

It is not surprising that Mr. John Jones' undertaking, launched under
the alluring name of Eanelagh Gardens, met with competition. In 1766
Mr. Edward Bardin, proprietor of the "King's Arms Garden in the Broad-
way" then, of course, still in the "Fields", as New York's outskirts were
called, endeavoured to wrest laurels from him. This gentleman "open'd"
a concert of music, three times a week. He flattered himself "that this
innocent amusement can scarce give offence to any person whatsoever, as
every possible precaution will be used to prevent disorder and irregularity" i).
But notwithstanding Mr. Bardin's appreciation of "the countenance already
shewn him in this undertaking, a sufficient testimony of a general satisfact-
tion"2) no reference to a continuation of these concerts appears during the
following years and in March 1769 he announced, with a request to debtors
and creditors aUke to settle their bills, that his tavern was to be let 3).

In the same year, in June, Mr. Samuel Francis announced that the

"Vaux Hall Gardens" had been "newly fitted up" with "a very good Long

Room, convenient for a ball or turtle entertainment . . . contiguous to the

Garden"*) and that a concert of music vocal and instrumental would be

offered to his guests twice a week. He also remarked that the gardens would

have been opened earher in the spring but on account of the theatre! The

first concert was given on June 30th and if the instrumental "parts" were

in keeping with the vocal "held" by Mr. Wools and Miss Hallam, it is to

be regretted that Mr. Francis did not meet with sufficient encouragement to

continue these concerts during the following years, if we allowed to infer this

from the absence of advertisements. On the opening night^) were to be sung in

Act I.
By particular desire — 'Black Sloven', by IVIr. Wools
'Ye Men of Gaza' (from Handel) by Miss Hallam.

Act II.
'Blest as the immortel gods is he', by Mr. Wools
'Fair Aurora' (Duet from Artaxerxes)^) by IVIr. Wools and Miss Hallam.

1) N. Y. Post Boy, June 26, 1766.

2) N. V. Mercury, July 21, 1766.

3) N. Y. Journal, March 13, 1769.

4) N. Y. Journal, June 8, 1769.

5) N. Y. Journal, June 29, 1769.

6) Arne.

— 169 —

The introduction of subscription concerts, of course, immediately increased
the number of benefit concerts, especially of those given for the benefit of
musicians connected with the management of the subscription concerts.
The first to thus expect a substantial appreciation of his labors was Mr.
Leonard who announced a concert in June 1762 ') and then a "concert of
musick vocal and instrumental" at the Assembly Room for Feb. 15, 1763.
It was to begin at 6 o'clock and to conclude "with an Ode on the Restaura-
tion of Peace, set to musick by Mr. Leadbetter; solo part to be sung by
Mr. Jackson, with proper choruses" 2). Mr. Leonard had further benefits
on Jan. 10 and December 13, 1764^) and possibly also later. He disappears
from the papers "svith a concert advertised for April 14, 1767*).

Benefit concerts were also given for Mr. Thomas Harrison on March 22,
1763 and April 12, 1764^), the latter at the New Assembly Room when
there were to be introduced

"several new songs, and one cantata ; and hy particular desire, to conclude with the
song and grand chorus Rule Britannia, etc., accompanied with drums and clarinets"!

As was the case with Mr. Leonard, Thomas Harrison disappears for
a few years until he again announced benefit concerts for Nov. 16, 1769
and Dez. 11, 1770 with "a ball for the ladies" .6)

Gazette, June 7, 1762.

Gazette, Feb. 7, 1763.

Mercury, Jan. 2, 1764; N. Y. Gazette, Dec. 3, 1764.

Mercury, April 6, 1767 (postponed from March 10th).
Y. Gazette, Feb. 28, 1763 and N. Y. Weekly Post Boy, April 12, 1764. If
Mr. Krehbiel in his article on music in Trinity Church claims that Thomas Harrison
had been brought over from England as organist as early as 1744 he evidently confused
Thomas Harrison with John Rice. The probabiUties are that Harrison became organist
after Rice's removal to Boston in 1753. At any rate, he is positively mentioned as or-
ganist of Trinity Church in the N. Y. Gazette, February 1, 1762 in an advertisement
where he also appears as dealer in all kinds of musical instruments. He seems to have
been succeeded by James Leadbetter who was chosen organist for one year with the
stipulation that he was to assist in tuning the new organ, on April o, 1764. (Compare
Dix). For this new organ already in 1761 500 pounds had been voted but it was not
purchased (in England) until 1763 when (comp. N. Y. Gazette, Jan. 3, 1763) the old
organ "consisting of 26 stops, 10 in the grand oi'gan, 10 in the choir organ, and 6 in the
swell, three sets of keys; with a frontispiece of gilt pipes and otherwise neatly adorned"
was offered for sale. It was built 1739 — 1740 by Johann Gottlob Klemm (b. 1690
in Dresden, came to Philadelphia in 1736, moved to New York 1745, joined the United
Brethren at Bethlehem, Pa. in 1757, died there 1762) and was the first organ installed
in Trinity Church. That there was at least some talk of erecting an American built
organ as early as 1703 appears from the vestry entry of "ye 4th of August, 1703" as
printed in Baird's Early Records of Ti'inity Church', Hist. Mag. 3d series, 1872, p. 10:
"Order that ye Rever. Mr. Vesey, Rector, Coll. Wenham . . . confer with &
discourse Mr. Henry Neering, Organ Maker about making & erecting an organ in Tri-
nity Church in N. York and if they shall think meet to agree with him on as easy terms
as possible".

• Nothing however, appears to have been done in the matter, as Trinity Clmrch
was still in need of "a sett of organs" in 1709 and as the first organ mentioned in New
York we might consider the one given by Governor Burnet, Dec. 28, 1727 to the Cor-
poration of the Dutch Cliurch. (Dix.)

6) N. Y. Mercury, Nov. 6, 1769 and Dec. 3, 1770.

4) N.

— 170 —

Then we notice a "publick concert" on April 3, 17641) for the benefit
of Mr. A. Van Dienval, at the conclusion of which was to be sung "a grand
chorus song, accompanied with drums, trumpets, or clariants", presumably
HvUe Britannia. Another musician, prominently connected with the Sub-
scription Concert and long a resident of New York, appeared relatively late
on the plan with benefit concerts. Mr. Hulett is meant, who gave his first
on March 5, 1765 2). The announcement of his second, on Oct. 5, 1765 3)
contained this meagre allusion to the program:

"The first violin to be performed by a gentleman lately arrived. A Solo on the
VioUn by the same Hand, the other instrumental parts by gentlemen of the town."

Nor is anything said of his concert on March 31, 1767*) except the date
and the usual information as to tickets, etc. With reference to his "only
concert this season at Mr. Burn's Room" on Dec. 3, 1767^) he at least ven-
tured the information that it was to be "in two acts. The vocal parts by
Mr. Wools and Miss Hallam". He also thought it worth his while to mention
that at his concert on March 23, 1770^) a Mr. Stotherd was to perform by
particular desire "several pieces on the French horn" and he became un-
usually communicative when he remarked in the announcement of his
benefit concert at Hull's Assembly Room, April 27, 1773'^) that

"the Concert [was] to be conducted and the first vioUn performed' by Mr. Zedtwitz
(A capital performer from London). The other instrumental parts, by the gentlemen
of the Harmonic Society.

In act the first, a duet, by ]Mr. Zedtwitz and Mr. Hulett. In act the second
a solo by Mr. Zedtwitz."

Both gentlemen named by Mr. Hulett had their own benefit concerts,
Mr. Stotherd on February 9, 1770^) and Mr. Zedtwitz on May 11, 1773^).
In Mr. Stotherd's concert at Mr. Burn's Room the instrumental parts were
performed by "several gentlemen who [were] pleased to patronize the con-
cert and they must have been able amateurs to carry out this remarkable
program :

Act 1st.

1st Overture of Bach, Opera prima

3d Concerto of Avison, Opera quarta

A Hunting song — Black Sloven

A French Horn Concerto, by Mr. Stotherd

4th Concerto of Stanley

1) N.

Mercury, March 26, 1764.

2) N.

Gazette, Feb. 25, 1765.

3) N.

Mercury, Oct. 14, 1765.

4) N.

Journal, March 12, 1767.

5) N.

Post Boy, Dec. 3, 1767.

6) N.

Journal, March 15, 1770.

7) N.

Mercury, April 19, 1773.

8) N.

Journal, Feb. 1, 1770.

9) N.

Mercury, May 10, 1773.

— 171 —

Duet on the French Horn
8th Periodical Overture i)

Act 2d.
Overture of Saul^)
Select pieces for four French Horns
\ 2d Concerto of Humphries

A Hunting Song

A French Horn Concerto, by ]\Ii'. Stotherd
3d Concerto of Corelli
Overture of Atalanta2)
After the Concert, there will be a ball . . .

If the announcement of the Subscription Concert on April 28, 1774.
with exception of a program presented on May 17th by a Mr. Gaze, contains
the last reference to the Harmonic Society I was able to find, that of Mr.
Zedtwitz in the New York Mercury, May 10, 1773 contained the first. The
concert, at Mr. Hull's Assembly Room, was to be conducted and the first
violin perform'd by himself, the other instrumental parts by the gentlemen
of said Harmonic Society. Only a few numbers of the program were men-
tioned: in act the first, a Solo by Mr. Zedtwitz, by particular desire 'Vain
is beauty's gaudy flower' and 'The Soldier tir'd' by Miss Hallam; in act
the second, singing by Miss Storer, and a duet with Mr. Hulett's son, "ten
years old", who thus probably holds the distinction of having been the first
prodigy to appear on American soil.

But who was this musician of a name so suggestive of Prussian aristocracy?
May be it would be more charitable to leave the question unanswered but
the opportunity is too tempting to briefly trace the checkered career of
this gentleman to whom nobody will allow this title after hearing of his
ignominious end.

Hermann Zedtwitz expressed his intention to settle in New York in
April 1773 and proposed "to teach a certain number of gentlemen the viohn,
in the present taste, having been a pupil of several of the most eminent
masters now in London and Germany". This intention he carried out and
his name also repeatedly appeared in connection with concerts, but ap-
parently the musical profession was not lucrative enough and with the
year 1775 he appears in the newspapers^) as the proprietor of "the Chimney
office" first in Little Queen Street and then in Nassau and FaiT;street",
extending his business into a primitive sort of Trust. Then came the war
and therewith ended the career of Mr. Zedtwitz. The facts are briefly these*).

1) So called from the collection of 'Periodical Overtures' in 8 parts by the most
fashionable composers of the day, issued monthly by Rob. Bremner.

2) Haendel.

3) N. Y. Journal, March 16, 1775 etc.

4) Compare N. Y. State Archives; Pennsylvania Archives; Force's American
Archives; Pennsylvania Staatsbote, 1776; Washington's Writings, etc. In a letter

— 172 —

When the rupture between the Colonies and the Motherland became
inevitable, (von) Zedtwitz who claimed to have seen military service under
Frederick the Great, was appointed major and commissioned as Ueutenant-
colonel in the First New York regiment on March 8, 1776. He took part
in General Montgomery's famous attack on Quebec as "a brave officer"
but "was so disabled by a rupture occasioned by a fall from a precipice"
that he became unfit for active duty. It was then suggested to put him in
command of the forts on the North River near New York. Fortunately
enough for the Americans the appointment had not yet become effective
when a letter of Zedtwitz, written to Governor Tryon (British) was inter-
cepted smacking of the worst kind of treason. He admitted having written
the letter but, as he asserted, merely to fool Tryon and to recover certain
sums due him for services rendered the British Crown in Germany. Naive
as this explanation was, the court was divided in its opinion as to Zedtwitz'
guilt and maybe the valuable service rendered by him in influencing the
Hessians to desert their colors had something to do with their clemency.
He was cashiered, however, removed to Philadelphia and confined to the
State prison. Somehow he managed in May 1779 to make his escape from
Reading and was on his way to New York when he was taken up near
Morristown, N. J. "dressed in Woman's clothes" i). It is pretty safe to
say that this escapade ended most unpleasantly for our Hermann von Zedt-
■witz, music teacher, chimney sweep, lieutnant-colonel and traitor.

Mr. von Zedtwitz' career has carried us a few years beyond the period
under discussion. In retracing our steps it might be well to first dispose
of such entertainments as were only in part concerts. For instance, on
July 15, 17672) ^ij. Douglas, actor and theatrical manager, dehvered George
Alexander Stevens' once so popular 'Lecture on Heads' in three parts. By
particular desire, Mr. Wools who lived to be the Nestor of the American
stage, was to sing at the end of the first part 'Thou Uke the Glorious sun'
after the second 'Water parted from the sea', both airs from Arne's opera
Artaxerxes and after the lecture the cantata 'Cymon and Iphigenia'. Si-
milar entertainments were repeatedly given either Uke this at Burn's As-
sembly Room or "by permission" of the authorities at the theatre in John

preserved in copy at the N. Y. Public Library and dated August 20, 1778 the Hessian
lieutenant Henckelmann has this to say about "von Settwitz. Er war vor der Re-
bellion Schornsteinfeger in New York, verliess seinen Posten, ging nach Philadelphia,
recommandierte sich bei dem Hr. Penn durch Clavierspielen und Singen, dass dieser
ihn zum Mitglied im Congress vorschlug, worin er aufgenommen wurde und noch
eine RoUe spielt". As a matter of fact, of course, ZedtAA'itz never was a member of
the Continental Congress but the letter may serve as an illustration of the absurd
form gossip and rumors will take and how sceptical one should be in using letters for
historical argument.

1) Virginia Gazette, Williamsburg, June 5, 1779.

2) N. Y. Gazette, July 6, 1767.

— 173 —

Street. In 1769 these lectures on heads, hearts, etc. were presented to the
pubUc under the moi'e pretentions than appropriate heading of 'Attic Even-
ing Entertainment' with "extracts from various authors read, and some of
the most celebrated songs" sung. For instance the latter comprised on
July 211):

'A way to the fields' (a hunting song) by Mr. Hudgson.
A Song set by Dr. Henry Purcell, by ]\Ir. Warwell
'The Linnets', by Mr. Hudgson.
A Martial Song, in character, by Mr. Warwell
A Two part song, by Mr. Warwell and Mr. Hudgson.

In the meantime the official antipathy against theatrical performances
had abated and thereafter the actors only rarely found time or opportunity
to deliver such lectures outside of the theatre. The idea was revived a few
years later by a Mr. Hoar who, end of August and in Sept. 1772, delivered
a "Syllabus in three parts with a concert of vocal and instrumental musick"^)
and in 1773 utilized his "copy of Mr. George Alexander Stevens's new Lectures
(with characteristic heads and dresses) as they are now delivered in London
by that celebrated genius". Mr. Hoar was assisted between the acts by
a "young lady" who sang a number of songs "with proper accompaniments"^).

It remains to trace a few concerts proper not hitherto mentioned. In
1767, on April 23*), "the Royal American Band of Musick", presumably
a regimental band stationed at New York, gave for its own benefit a
concert of vocal and instrumental music, of which nothing else is said.
On June 13, 1769^) the actress and singer Mrs. Harman, assisted by her
colleagues Miss Hallam, Miss M. Storer, Mr. Wools and Miss Wainwright
had a benefit concert. This probably was one of a series of benefit con-
certs of which "a vocal entertainment at Mr. Burn's Long Room" on
July 14, 1769 "by permission of His Excellency the Governor" was "the
last night". From the fact that it was announced for nobody's special
benefit, it may be surmised that it was a joint-benefit for the singers, who
all belonged to Douglas' American Company, as mentioned on the program :

Act 1st.
A Pastoral, by Mr. Warwell

'Come rouse brother Sportsman' (a hunting song) by Mr. Hudgson
'Bright author of my present flame', by Mr. Warwell.

Act 2d.
'May Eve; or Kate of Aberdeen', by Mr. Hudgson
A Song in the Anacreontic taste, by Mr. Warwell
The Jest, set by Mr. Michael Arme, by Mr. Hudgson.

1) N. Y. Journal, July 20, 1769.

2) N. Y. Journal, Aug. 27; Sept. 3, 1772.

3) N. Y. Journal, Feb. 4. 1773.

4) N. Y. Gazette, April 13, 1767.

5) N. Y. Post Boy, June 5, 1769.

— 174 —

Act 3d.
A Cantata, by Mr. Warwell
A Song, by Mr. Hudgson
A Duett, by Mr. Warwell and Mr. Hudgson.

Then came a concert on January 24, 17711) ^t Mr. Bolton's Tavern for
the benefit of John Mc Lane, "five major of the 29th regiment" 2) and sub-
sequently, as we have seen, instructor of the German flute at Philadelphia.
As special attractions Mr. Mc Lane mentioned "a solo on the German flute"
and after the concert "several pieces of music performed by the fifers and
drummers of the said regiment".

Possibly it was also Mr. Mc Lane who took the second flute in a "duet
on 2 flutes" which the flutist George Webster announced as the principal
feature of his concert, scheduled for March 13th at Mr. Bolton's tavern,
postponed from March 5, 1771^.) The concert, adorned by other select
pieces, was to conclude with the march in Haendel's Judas Maccabaeus
"accompanied with a side drum". Shortly afterwards, on April 17th 3)
"by particular desire of several ladies of distinction" a concert of vocal and
instrumental music was held for the benefit of a "respectable but distressed
family of orphans" and said ladies expressed their hope "that so charitable
a design [would] meet the countenance of every person of sensibihty and
benevolence".

So far, New Yorkers had not yet caught a glimpse of French and Italian
virtuosos with exception of Signiora Mazzanti. A splendid opportunity
came in May 1774 though it must be confessed that the programs smacked
somewhat of the sensational. Certainly the announcement of Mr. Gaze's
concert with "orchestry's" pieces etc. leaves nothing to be desired in
quaintness*) :

MUSIC. On Tuesday Evening the 17th instant will be performed at Mr. Hull's
Tavern, for the use of ]Mr. Caze, an extraordinary instrumental and vocal Concert in
two acts, consisting of different solos, upon various instruments, unknown in this
country, to be executed by the gentlemen of the Harmonic Society, who have been
pleased to promise their assistance.

1) N. Y. Mercury, Jan. 7, 1771.

2) N. Y. Mercury, Jan. 14, 1771.

3) N. Y. Journal Feb. 14, N. Y. Mercury, March 4, 1771. George Webster is
still to be traced at New York in 1785 as teacher of the flute. During the war, though
he still gave music lessons, he drifted mainly into the liquor, grocery and shoe business
at the sign of the Three Cannisters. For instance, in the Royal Gazette, Nov. 4, 1778
he announced inter alia that he would supply "Sergeants, of the army with any quan-
tity of strong military shoes, likewise hard and soft shoe-brushes for the use of their
men" and "gentlemen and ladies who are fond of preserved fruits in brandy . . . with
peaches, pears, plumbs and green gages". It is extremely doubtful whether Washing-
ton's army was equally provided with all the delicacies "in and out of season" nor
could many of our soldiers boast of "strong miUtary shoes".

4) N. Y. Mercury, May 9, 1774.

— 175 —

1st Act.
A grand Orchestry's Symphony

A French Ariette will be sung accompanied with the guitar and violin.
IVIr. Caze will play his own composed music, on the violin with Mr. Zedtwitz.
A Concert on the Flute
A Sonada on the Spanish Guitar
The first Act to end with a March.

lid Act.
A Grand Orchestry's Symphonic

A French Ariette accompany'd with the Mandohn and Violin
A Solo on the Violin
A Duo on MandoUne and Violin

A Sonada of the Salterio; and d'Exaudet's Minuet with echos.
The Concert to finish with a March of the grand Orchestry.
After the Concert there will be a ball . . .

Not less quaint is the announcement i) of the joint benefit concert of
the two maestri Nicholas Biferi and Pietro Sodi^ the latter, it will be re-
membered from the chapter on Charleston, claiming to have had for many
years the sole conduct of the dances at the Itahan opera in London^):

At Mr. Hull's Assembly Room, will be performed a great Concert extraordinary,
the 26th of this month, for the benefit of Mr. Biferi and Mr. Sodi, the said concert will
be divided into two acts, each act composed of four pieces.

Mr. Biferi, master of music from Naples, will perform on the harpsichord a piece
of music of his composition with the orchestra; ditto in the second act will perform a
solo accompanied with the violin.

There will follow a ball, in which Mr. Sodi will dance the louvi-e, and the minuet
with Miss Sodi, a young lady nine years of age; and Miss Sodi will dance a rigadoon
with young Mr. Hulett.

Mr. Biferi again endeavoured to interest the pubHc on March 23, 17753)
when he had a "concert and ball under the patronage of the Hon. Stephen
Payne Gal way, Esq. "at Mr. Hull's Tavern. This was followed by the last
concert before the war" a publick concert for the benefit of a Band of Musick"
at Mr. Hull's Assembly Room on April 27th*).

1) N. Y. Mercury, May 16, 1774.

2) Mr. Biferi and Mr. Sodi were two of the "three gentlemen lately [in April] arrived
from London" who proposed in the N. Y. Gazetteer, May 5, 1774 to open "A new Aca-
demy for teaching musick, dancing and the Itahan and French languages". The third
was Joseph Corani, to whose lot it would have fallen to teach the languages, had the
proposals met with success. Evidently they did not, for we met Sodi at Charleston in the
following year and Nicholas Biferi subsequently advertised his paedagogic talents in-
dependently of the beautiful cooperative scheme. He taught "vocal music, the harp-
sichord, to play pieces of music and an easy method to learn the composition which
he printed for the jjublic at Paris ; he composes all sorts of music, vocal and instrumental".
Was this Nicolas Biferi from Najiles possibly identical with the Biferi (Bifferi), Fran-
cesco, fils, who was born about 1739 at Naples, who lived at Paris about 1767 and who
published there in 1770 his 'Traite de la musique dans lequel on traitc du chant, de I'ac-
compagnement, de la composition et de la fuge'? (Compare Eitner.)

3) N. Y. Mercury, Feb. 27, 1775.

4) N. Y. Mercury, April 17, 1775.

— 176 —

For certain reasons the name of one musician, and probably the best
New York conld boast in those days, has not yet been referred to in the
record of concerts after 1760: Wilham Tuckey. He had threatened to leave
the city unless he met with better encouragement but either because his
threat had the desired effect or because he did not see his way clear to
more appreciative cHmes, Tuckey remained in New York and labored faith-
fully in the interest of the Charity School comiected with Trinity Church.
This part of his activity does not interest us here whereas his efforts to
estabUsh what we perhaps would call to-day, an Oratorio Society, or at any
rate, his efforts to systematically bring church music before the general
pubUc deserves not only attention but lasting credit.

To ascertain the full extent of this pioneer-propaganda is no longer
possible but Tuckey's rather minute announcements on several occasions
afford a fairly good view of what he tried to accomplish and in part did
accomplish. The announcements are so interesting and instructive in them-
selves that it \vill be better to use, as far as possible, Tuckey's own words
than to paraphrase them and rob them of their dehghtful quaintness.

It will be remembered that already in 1754 he urged an "improvement"
and "amendment" of "the singing in public congregations" in New York
and it goes without saying that liis energies remained bent in this direction.
Then, in 1762, his appeal took a more concrete form in this advertisement
in the New York Weekly Post Boy, September 4, 1762:

TO ALL LOVERS OF DIVINE HARMONY.

Whereas it is a custom in Protestant congregations in Europe, on times of rejoicing,
as well on annual as particular days of tlianksgi\ing, to sing the Te Deum therefore
by particular desire a subscription is open'd for the encouragement of so laudable a
practice in this city. Proposals as follows: Every lady, gentleman etc., to subscribe
whatever they please, for which subscription money William Tuckey, has obligated
himself to teach a sufficient number of persons, to perform the Te Deum, either with
or without organ, or other instruments; and that it shall be as good a piece of music
as any of the common Te Deums sung in any cathedral church in England. Performers
to pay nothing for instruction (unless it be their pleasure) but it is expected that they
will (as they are to be inhabitants of the city) be kind enough to join the choir on any
particular occasion ; esjDecially at the opening of the new organ, which is expected soon.

Public subscriptions are taken in by Mr. Gaine, ]VIr. Weymann, and the printer
of this paper, which moneys are to be left in the persons hands who receive it,
'tUl there is a rehearsal of the piece before the subscribers, of which rehearsal they
shall have notice.

Mr. Tuckey desires all persons from lads of ten years old etc., as well as other
persons of good repute, that has good voices and are willing to join the company,
to be speedy in their application, and give in their names to Mr. Hildreth, Clerk
of Trinity Church, or Mr. Silby, Clerk of St. George's Chappel; as he will begin
immediately to instnict the performers and receive all qualify'd till there are 50
voices in the chorus.

— 177 —

Some response certainly must have been made to this call, but I found
no further allusion to the enterprise until 176(3 when the New York Mer-
cury on October 6, 17G6 printed the following news which prove Mr. Tuckey
to have launched in the meantime at least one "Rehearsal of Church Musick",
alias concert. The announcement reads:

We are inform'd that Mr. Tuckey's Rehearsal of Church Mustek, (which has given
such general satisfaction to the people of all ranks in this city, at the performance)
will very shortly by particular desire of a number of ladies and gentlemen (who are his
friends) be again rehearsed for his benefit, with a considerable addition: whereof notice
will be given in the weekly papers —

This Concert will consist of nothing but church musick ; in which will be introduced,
a new Te Deum, Jubilate, Cantata Domini; and Deni [!] Misereatur, accompany'd with
A sufficient number of proper instruments. Mr. Tuckey would take it as a great favour
of any gentleman, who sing or play any instrument, to lend him their kind assistance
in the performance, and give him timely notice, that there may be a sufficient number
of parts wrote out."

The date v;as fixed for October 28th i) and the price of tickets at four shil-
lings each to be had at Tuckey's home. It is also interesting to note that
the concert was not held in a church but at Mr. Burn's New Room. To
the pieces mentioned in the preliminary announcement was added

an Anthem (in which there is an obligate part for a harp, as there is also in the
Cantate Domino) with several other piecas of Church Musick, intermixed with other
instrumental performances in order to ease the voices: the whole to conclude with a
Martial Psalm, viz. the 46th, Tate and Brady's version, accompanied with all the in-
struments, and a pair of drums.

N. B. There Avill be more than forty voices and instruments in the chorus.

Whether the adjective "new" applied only to the Te Deum or to all the
pieces does not appear but it is highly probable that at least the Te Deum
was Tuckey's own composition 2).

1) N. Y. Gazette, Oct. 20. 1766.

2) Students of American psalmody will have met with Tuckey's compositions
as contained in psalm-tune collections. Probably the first composition of his published
in America was 'An Anthem taken out of the 97th Psalm', embodied anonymously
in James Lyon's 'Urania', 1761 and subsequently popular as 'Liverpool'. We also
know from the Boston Evening Post. Dec. 15, 1760 that a Thanksgiving Anthem of
his was performed in December, 1760 in Trinity Church, New York. Consequently
his compositions became fairly well known, notwithstanding the fact that he failed
in his efforts to publish certain of his works by subscription. For want of tetter op-
portunity and in order to be of service to the historians of American church music,
I c|uote the respective advertisements here. On March 11, 1771 appeared in the N. Y.
Mercury the following.

Proposals for publishing (by subscription) Two select pieces of Church music.

1st. X\\ Hymn (by way of an anthem) consisting of Solos, Duets, one Trio and
Chorus; together with a Psalm Tune, adapted for any charitable church collection,
and first design'd for the benefit of the Free School belonging to Trinity Church in
New York, to be perform'd in the churches at the annual collection; the school being
chiefly supported by charity; the words of the hymn by a gentleman of Kings' College.

Sonne ck, Karly Concert Life. 12

— 178 —

It may be taken for granted that when on Oct. 30, 1766 the "new Epis-
copal Chapel, called St. Paul's and esteemed one of the most elegant edifices,
on the Continent was opened" it was WilHam Tuckey who with "a suitable
band of music vocal and instrumental" introduced "several pieces of church
music" the "judicious execution" of which "contributed much to heighten
the solemnity" as the New York Mercury expressed it on November 3d.
It appears that the introduction of a band, whatever its constitution might
have been, w^as due to the expressed desire of Sir Henry Moore, a desire
granted

2d. A performance adapted for a funeral, consisting of three Dirges, (or chorus)
the words part of the burial service; together with an Anthem and a Psalm Tune suit-
able on the solemnity of a funeral or interment of any person of note, etc. The whole
never yet perform'd being very lately set to music by William Tuckey, for some years
a professor of the theory and practice of vocal music, Vicar Choral of the Cathedral
Church of Bristol and Clerk of the Parish of St. Mary Port in said city, now resident
in New York.

The subscribers to pay two shillings at the time of subscribing and two shillings
more on the delivery of the work (New York currency) which is to be neatly engrav'd
on copper plates, and work'd off on the best paper: and when ready to be deliver'd;
notice will be inserted in the New York, Philadelphia and Boston papers: the subscribers
to be at the expence of sending their subsrciptions and for their books to New York
either to Hugh Gaine or the proprietor, William Tuckey.

N. B. No more will be work'd off than what are subscribed for, so that none will
be sold by any bookseller, but those who subscribe who will be entitled to the usual
discount.

Though the following proposals were anonymous the fact that a number of the
pieces were identical with those performed at Tuckej^'s concert of October 28, 1766
renders it certain that he was the composer, a supposition further strengthened by
the tenor of the advertisement in the N. Y. Journal, Jxily 1, 1773:

Church Music. Ready for engraving, and to be published by subscription, the
following select pieces, consisting of a complete set of church service, viz. A Te Deum
laudamus; Jubilate Deo; Benedicite opera Domini; Cantate Domino and Deus misereatur;
a burial service and an anthem for any grand funeral; a complete and well adapted
anthem to be sung at the time of any charitable contribution ; a grand chorus, 'Hosanna
to the Son of David, Blessed is he that cometh in the name of the Lord', etc. proper to
be sung at any meeting; or convention of the clergy, of any denomination; as also'
an Anthem 133d Psalm, for a grand meeting of Free and Accepted Masons'; the whole
to be published in score, which will contain to the best calculation sixty folio pages,
to be engraved and worked off in the neatest manner and on the best paper, the work
will receive the greatest dispatch as soon as a sufficient number of subscribers offer
who are requested to be as speedy as possible to deliver in their names and places of
abode. The piece to subscribers will be one dollar and a half; one half to be paid at
the time of subscribing and the other half of the delivery of the book.

Subscriptions are taken in by Messrs. Gaine, Rivington and Holt, printers in New
York . . . [and others from Rhode Island down to Charleston, S. C. !] All the subscription
money is to be sent and deposited in the hands of Messrs. Rivington, Holt and -Gaine,
or either of these gentlemen in New York, who will take care that no money shall
be paid to the compiler, till they have inspected the manuscript and seen it dispatched
to the engraver; and in case a sufficient number of subscribers should not offer they
will return the subscription money they have received.

N. B. There never was any complete set of church service made public, nor can
any be procured but by friendship and a great expence; neither is any burial service
of the kind to be purchased, unless it be that in Dr. Croft's anthems, which is sold
for two guineas.

— 179 —

"on the condition that the band should only join in such part of the service as
was usual and customary in like cases, and that no other pieces of music should be
allowed but such only as were adapted to the service of the church on such solemn
occasions".!)

Suitable band of music! This recalls to our minds the plan Joh. Seb.
Bach submitted to the city fathers of Leipzig (Spitta, II, p. 74). He therein
demanded as minimum 2 — 3 first, 2 — 3 second violins, 2first, 2 second violas,
2 violoncelli, 1 double bass, 2 — 3 oboes, 1 — 2 bassoons, 3 trumpets, 1 kettle-
drum, that is to say, in addition to organ and harpsichord not more than
22 instrumentalists as against a chorus of 12 to 16 (trained!) singers. These
specifications are instructive. That they really were considered about
normal we know from Mattheson who says in his 'Vollkommener Kapell-
meister' that for choir and orchestra together '"bevor ab in grossen[!]Stadt-
kirchen" 30 persons are approximately needed. Finally, Joh. Samuel Petri,
in his 'Anleitung zur praktischen Musik', 1767 recommends:

". . . . Man mochte nach der Menge der Instrumentalisten die Stimmen etwa so
besetzen wenn eine espece von Concert herauskommen sollte: Ein sehr schwacher Chor. . .
[7 — 8 instrumentalists] . . . Ein etwas starkerer . . . [10 — 12] Ein vollstandigerer . . .
[21 to 24]"

specifying 2 flutes or oboes, 2 horns or clarinets and kettledrums. Con-
sequently William Tuckey did not have much difficulty in finding at New
York in 1766 a really suitable band, at least for ''a somewhat fuller chorus" !

Confining himself thus to church music, William Tuckey appears to
have laboured until 1769 when he again ventured to give a benefit concert
on April 21st 2). Of the program nothing is said except that the vocal parts
were held by Miss Wainwright, Miss Hallam, Miss Maria Storer and Mr. Wools,
with a ball after the concert. Choirmaster, actors and dancing, surely a
curious combination but one which speaks well for the tolerance of by-
gone days!

One other feature of the program was announced in the papers that
should not pass unnoticed. If, as Mr. Cummings claims in his monograph
on 'God save the king' the first recorded public performance of the British
national hymn took place at London on Sept. 30, 1745 in Carey's arrange-
ment as a trio with chorus refrain, there is every reason to believe that
the hymn made its first appearance on an American program on the evening
of Tuckey's benefit, April 21, 1769 for "by particular desire the concert [was]
to end with God save the king". This concert was followed not quite a
year later by one which deservedly aroused the interest of our historians.
Said F. L. Ritter^):

1) Krehbiel, quoting loc. cit. the records of the parish.

2) N. Y. Mercury, April 12 and X. Y. Journal, April 20, 1769.

3) Music in America, Xew ed. 1895, p. 135.

12*

— 180 —

"on the 9th of January, 1770, Handel's 'Messiah' was performed in Trinity Church,
repeated on the 3d of October the following year and again in April 1772".

Mr. Ritter did not mention his authorities and therefore other writers
who copied this statement, so important for the history of oratorio in America,
were justified in hesitating to accept it. The more so, as the statement hap-
pens to be incorrect and misleading. Though the first performance was
originally announced for Jan. 9, 1770 1), it was subsequently j^ostponed to
Jan. 16th 2). In the second place, the concert was given, not in Trinity
Church, but at Mr. Burn's Room. Furthermore, the statement reads as if
the entire oratorio was performed whereas only the overture and sixteen
numbers were given. Finally, I have not come across the announcement
of performances in 1771 and 1772. This, however, may have been my fault,
and until the dates given are removed as impossible, Ritter's reference will
have to stand.

Before submitting the full announcement, one other observation. Haen-
del's 'Messiah', first performed at Dublin in 1742 and at London in 1743,
soon conquered Great Britain but was slow to force its way into popularity
on the continent. Indeed, Sittard in his book on concerts in Hamburg
claimed that the first performance of the 'Messiah' in Germany was given
at Hamburg under Michael Arne^) on April 15, 1772. The inference is plain
enough: Wilham Tuckey introduced the 'Messiah' to the citizens of New York
one year before its first performance in Germany I To be sure, Tuckey gave
only seventeen of the fifty-seven numbers, but is it absolutely certain that
Haendel performed his masterwork in its entiretij at Dublin? And did it
not soon become customary to perform only more or less comprehensive
extracts from the gigantic score as the limits of human endurance required
merciless cuts? At any rate, Sittard's statement that beyond doubt the
ivliole oratorio was performed at Hamburg and not only a selection is rather
bold in view of the fact that the announcement contains nothing to uphold
this contention and on the other hand mentions that the famous oratorio
was to be followed by the Coronation Anthem ! Be this as it may, the honor
of having introduced the 'Messiah' to the American public belongs to Wil-
liam Tuckey and this alone would entitle him to lasting fame in the history
of our musical life.

Unfortunately all we know of this pioneer-performance is contained in
the following characteristic though meagre announcement in the New York
Journal, January 4, 1770:

1) N. Y. Mercury, Dec. 25, 1769.

2) N. Y. Journal, Jan. 11, 1770 and N. Y. Journal, Jan. 4, 1770.

3) Sittard says Thomas Augustine Arne, but it was Michael.

— 181 —

CONCERT OF CHURCH MUSIC.
Will be performed at Mr. Burns's Room, on Tuesday the 9tli of January, 1770
for the benefit of Mr. Tuckey.

First Part. Some select instrumental pieces, chosen by the gentlemen who are
performers: Particularly a Concerto on the French Horn by a gentleman
juxt arrived from Dublin^).
Second Part. A Sacred Oratorio on the prophecies concerning Christ and his coming ;
being an extract from the late Mr. Handel's grand oratorio, called the Messiah,
consisting of the overture, and sixteen other pieces, viz. air, recitatives, and
choruses. Never performed in America.
The words of the oratorio will be delivered gratis (to the ladies and gentlemen)
who are pleased to patronize and encourage this Concert, or may be purchased of Mr.
Tuckey, or by others for six Pence.

As it is impossible that a performance of this sort can be carried on without the
kind assistance of gentlemen, who are lovers of music and performers on instruments;
Mr. Tuckey will always gratefully acknowledge the favour of the gentlemen who assist
him.

Tickets to be had of Mr. Tuckey at eight shilhngs each. To begin precisely at
6 o'clock.

To this may be added from his advertisement of postponement to Ja-
nuary 16th that he had succeeded in engaging "a considerable number of
ladies and gentlemen". How considerable this number was is a matter of
conjecture but it is reasonably certain that it cannot have fallen much
below the twenty-three singers and thirty-three instrumentalists as em-
ployed in the performance of the Messiah (the last at which Haendel was
present) for the benefit of the Foundhng Hospital, London, May 3, 1759.

As was said above, I have been unable to verify Ritter's dates for the
two repetitions of the concert. Possibly he had October 3, 1770 instead of
1771 in mind when a sermon was preached in Trinity Church by the Rev.
Dr. Auchmuty for the benefit of the 'Corporation for the ReUef of the widows
and children of clergymen in the Communion of the Church of England in
America' and when incidentally were performed "several pieces of Church
music by the most eminent composers; among others, part of the celebrated
Mr. Handel's oratorio of the Messiah" 2). However, as also Mr. Dix in his
history of Trinity Church asserts that the Messiah was repeated there on
October 3, 1771 "when no less than 28 clergymen were present" I leave
it to others to wrestle with the apparent contradiction between contemporary
amiouncement and historical statement.

William Tuckey's subsequent career in singularly elusive. He advertised
no concerts and no further mention of his name is made in the papers. Pos-
sibly he remained at New York until the beginning of the war. Where
he resided afterwards, is equally a mystery and only one fact stands forth:
his death at Philadelphia in 1781.

1) Probably Mr. Stotherd.

2) N. Y. Mercury, Sept. 24, 1770.

— 182 —

During the war the musical Ufe of New York did not come to a standstill
as in other cities. The reasons are not far to seek. Lord Howe captured
the city in Sept. 1776 and it remained in the hands of the British until the
evacuation in November 1783. New York speedily assumed the appearance
of a garrison city not overly troubled by the opposing army and naturally
the officers and society-folk belonging to the tory party felt a desire to
feel as comfortable as possible. This desire was not checked by the great
lire of 1776 which broke out in a down-town brothel and laid 500 houses, —
including Trinity Church, — about one Third of New York then a place
of some odd twenty thousand inhabitants — in ashes. The absence of many
of the gaiety-loving Whig families who had fled, was hardly felt as the tory
ladies and such as "followed the drum" to use Dunlap's veiled but plain
words vied with each other to let the English and Hessian officers and other
gentlemen, loyal to the king, forget the ennui of their daily and by no means
arduous routine.

Under the circumstances, and as there always has been a good deal of
amateur talent in the British army, it is not at all surprising that the gentlemen
of the army and navy, assisted by their tory-friends, formed themselves
into a theatrical company, of which at least the repertory was as good as
that of their professional predecessors. The performances continued
until shortly before the evacuation and the presence of regimental bands
materially aided towards a satisfactory rendition of the current English
operas and musical farces. Indeed, Dunlap asserts that the orchestra, formed
of the bands, was better than that attached to Douglas' company. Dunlap
mentions as further places of amusement the ball-room of the City Tavern
and "the il/o?/, the walk in front of the ruins of Trinity Church, the resort
of beaux and belles during the summer evenings, promenading in thoughtless
gaiety or \vith measured steps to the music of the military bands placed by
the officers amid the graves of the church yard".

Strange to say, he does not mention concerts, though such seem to
have occupied the minds of the gentlemen as much as theatrical performances.

At first these concerts were merely tentative as for instance a concert
on January 24, 1778^) but towards the end of the same year 2)

'"some gentlemen being desirous of having Musical Parties this winter, have entered
into a subscription of two guineas each for to have a Concert twice a week and to com-
mence as soon as there are twelve subscribers that are performers.

As soon as the subscription is filled. Mr. Rivington [the printer] will call a meeting
of the subscribers to settle in what manner the monies arising from said subscription
shall be appropriated."

Though I found no further reference to these Musical Parties, little doubt

1) Royal Gazette. Jan. 24, 1778.

2) Royal Gazette, Nov. 25, 1778.

— 183 —

can be entertained that the gentlemen succeeded in finding the twelve per-
former-subscribers. At any rate, these subscription-concerts, though now
weekly, flourished from 1781 to 1783. Not only was the pubHc informed
in April 17811) tjiat "there [would] be neither play nor concert during this
week" but we have a still better clue in the New York Mercury of April 16,
1781:

Public Concert. The subscribers to the Concert at Roubalet's are desired to take
notice that it will recommence to-morrow evening — and in future be continued every
Tuesday."

In 1782 the first 'Subscription-Concert' began on January 19th "pre-
cisely at seven and finished at ten o'clock" and was to be continued on
every Wednesday 2). The season closed with the eighteenth concert on
(Thursday) May IGth^). As curious details of management may be men-
tioned the request that the subscribers should write the names of the street
and number of their house on the back of their tickets, as otherwise it would
be impossible to return them with propriety*) and the announcement that
gentlemen, who were non-subscribers and not residents in town would be
furnished with extra-tickets for admission at the door of the concert room
at a dollar each. The subscription was to be continued during the following
year under these conditions^):

1. The subscribers to consist of officers of the navy and army and the gentlemen
of the city.

2. Each subscriber to pay one guinea on the delivery of one ticket for the season
on which he will please to insert his name, street, and number of the house.

3. Each subscriber to have the privilege of introducing two ladies and one gentle-
man, provided such gentleman is not resident in the city.

The first concert will be at Roubalet's on Saturday the 30th instcxnt, to commence
precisely at 7 o'clock, and will be continued weekly of the same clay.

Officers of the Navy and Army who may not have been applied to by the mana-
gers, will receive tickets at Roubalet's at one guinea each, and will please to leave
their names etc. at the bar."

That the concerts actually took place may be proven by several ad-
vertisements in the Royal Gazette in January and February, 1783. If these
concerts were not ideal in rendition, they were at least abreast of the times
in spirit. If proof be required, we need but turn to the program of a concert,
given by the gentlemen of the army and navy, as were all these public enter-
tainments, to alleviate the misfortunes of persons, affiUated in one form or
the other with the British cause. The interesting announcement, in the
Royal Gazette, April 27, 1782, reads:

1) N. Y. Mercury, April 9, 1781.

2) Royal Gazette, Jan. 16, 1782.

3) Royal Gazette, May 8, 1782.

4) Royal Gazette, Jan. 23, 1782.

5) Royal Gazette, Nov. 27, 1782, signed Nov. 22d.

— 184 —

THEATRE.

(By Permission)
This evening will be performed, a Concert of Vocal and Instrumental Mustek,
for the benefit of two distressed Refugee Families;

It is hoped the humanity of the respectable public will, on this laudable occasion,
be particularly shewn, as they may depend upon every pains being taken to render the
evening's amusement agreeable.

Act I

Sinfonie of -Toeschi

Quartetto of Davaux for violins

Song by Mrs. Hyde 'Soldiers tir'd of Wars alarms'.

Violino Solo Concerto of Borchny

Quintetto of C. Bach for Flauto.
Sinfonie of Stamitz.

Act II
Sinfonie of Haydn
Quartetto of Kammell, for violino
Song by Mrs. Hyde, 'The lark's shrill notes'
Hoboy Solo Concerto of C. Fisher
Quartetto of Vanhall, for Flauto
Sinfonie of Haydn

Act III

Sinfonie of Bach

Quartetto of Davaux, for violino

Song by Mrs. Hyde 'If 'tis joy to wound a lover'

Clarinetto Solo Concei'to of Mahoy

Quartetto of Toeschi, for Flauto
Sinfonie of Mardino [Martini?]

Tickets to be had of the different printei's, at Mr. Strachan's Coffee House, and
Mr. James M'Ewer's No. 242 Queenstreet. Boxes 8 s. Pit 8 s. Gallery 4 5.

The subscription concerts evidently fully satisfied the desire of the sons
of Mars to have Musical Parties as independent benefit and other concerts
were but seldom announced. Among them one deserves attention given
on Sept. 10, 17801) at John Mackenzie's 'White Conduit House', apparently
an open air entertainment and more particularly the "Concerto Spirituale
of three acts" given at the theatre on March 25, 1780 in evident (miniature)
imitation of the Concert Spiritual of Paris. We are told that

each act will consist of an Overture. Song. Solo. Song. Trio. Song. Sym-
phony. The whole to conclude with the Grand Chorus of the Messiah. The orchestra
to be on the stage, which will be properly decorated on this occasion."

Finally Signior Franceschini, whose ability on the violin Charlestonians

had an opportunity to enjoy from 1774 to 1782 had "by permission" a benefit

on June 9, 1783 2) and he was succeeded by William Brown, subsequently

so prominent at Philadelphia, at whose benefit on August 8, 1783^) "Signior

Franceschini was to play the first violin". Unless Brown was "honoured

1) Royal Gazette, Sept. 9, 1780.

2) Royal Gazette, May 31, 1783.

3) Royal Gazette, Aug. 6, 1783.

— 185 —

with a sufficient audience" at his proposed "second" concert at Roubalet's
on August 15thi) his concert at August 8, 1783 may be said to have been
the last given at New York under the British regime.

WilHam Brown was also the first to appear before the concert-going
pubHc of Xew York after the war. He must have been not only a trouble-
some character, to judge from his quarrels with Bentley andCapron at Phila-
delphia, but also of a rather restless disposition. Hardly had he given his
concerts of 1783 at New York when he went to Philadelphia, a journey
then by no means very comfortable. Thence he proceeded to Baltimore
where he is to be traced early in 1784. We further know from the chapter
on concerts in Philadelphia that he ventured in the same year as far South
as Charleston and back again to Philadelphia where he seems to have remained
until fall of 1785 when he reappears at New York as the founder of the
New York Subsciiption Concert. End of October 2), the number of sub-
scribers being "compleated", he requested the gentlemen to meet at Cape's
Tavern to "fix on some regulations" relative to the enterprise. Beyond
this and the announcement^) that the managers of the 'Gentlemen's Concert'
found it agreeable that the "company should have tea and coffee served
up to them in the tea rooms, in the interval betwixt the conclusion of the
concert and the commencement of the dancing" we hear nothing concerning
the entertainments except — and this is really the most important item —
that, as Mr. Brown was permitted to note in the announcement. New York
Daily Advertiser, March 14, 1786 of a benefit concert

"the managers of the Gentlemen's Concert [were] perfectly satisfied with the
attention and assiduity of Mr. Brown in the conducting of the musical department
during the season."

This testimonial, however, did not induce Mr. Brown to remain at New
York and as there seems to have been no other musician of sufficient energy
to take his place, the enterprise collapsed. Indeed, New York just then
appears to have been, may be for political reasons, a rather uninviting place
for musicians. Even an unquestionably able artist like Alexander Reinagle,
"member of the Society of Musicians in London", found it to his advantage
to leave New York after a brief sojourn.

He, like William Brown, found the Quaker City more hospitable and his
return to New York in Sept. 1788 was due primarily to his connection with
the Old American Company of comedians. With the return of this company
things musical, too, received a fresh impetus at New York. The first fruit
of Reinagle's energetic and experienced leadership was the revival of the

1) Royal Gazette, Aug. 6, 1783.

2) N. Y. Packet, Oct. 24, 1785.

3) N. Y. Daily Advertiser, Jan. 10. 1786.

— 186 —

'New York Subscription Concert' under his direction "the vocal parts by
Mrs. Henry and Mr. Capron. The instrumental by Messrs. Reinagle, Capron,
Bradford etc." The enterprise was planned on a modest scale as only three
concerts were held at the City Tavern, on Sept. 15, Sept. 29 and October 13,
17881) with the following "plans".

FIRST CONCERT
Act I

Overture Stamitz

Song .. .. Mrs. Hemy

Concerto Violoncello Mr. Bradford

Act II

Sonata Piano Forte Mr. Reinagle

Song Mrs. Hemy

Overture of Abel

Act III

Solo Violin Mr. Reinagle

Song Mrs. Hemy

Overture of Stamitz

SECOND CONCERT.
Act I

Grand Overture Haj^dn

Song Mrs. Henry

Concerto Violoncello Capron

Act II

Sonata and Trio of Haydn and Schroter .. .. ^Ir. Reinagle

Song Mr. Capron

Quartetto, Flute, of Bach

Act III

Trio of Boccherini Messrs. Reinagle,

Bradford and Capron

Song [Mrs.] Henry

Overture of Reinagle

THIRD CONCERT
Act I

Overture of Gossec

Song Mrs. Hemy

Solo Violoncello Mr. Capron

Act II

Concerto Pianoforte of Scliroter Mr. Reinagle

Song Mrs. Henry

Quartetto. Flute Vanliall

Act III
Miscellaneous Quartett

Song Mrs. Henry

Overture of Stamitz

1) Daily Advertise--, Sept. 13, Sept. 27, Oct. 11, 1788.

— 187 —

In the following year, 1789, again only three concerts were offered "under
the direction of Messrs. Reinagle and Capron" on Sept. 22, postponed from
Sept. 15, Oct. 6 and Oct. 33th under the heading of "New York Subscription
Concert of Vocal and Instrumental Music" i). The programs read:

FIRST CONCERT

Act 1st.

Overture of Giordani

Song by Mrs. Sewell

Concerto Violoncello Mr. Capron

Overture of Guglielmi

Act 2d.

Overture of Stamitz

Song by Mrs. Sewell

Sonata Piano Forte Mr. Reinagle

Overture of Gossec

After the first act will be performed a Chorus, to the words that were sung, as
Gen. Washington passed the bridge at Trenton — the Music now composed by Mr.
Reinagle.-)

SECOND CONCERT.

Act 1st.

Overture of J. Stamitz

Song Mrs. Sewell

Concerto Clarinet Mr. Wolfe

Solo Violoncello Mr. Capron

1) Daily Advertiser, Sept. 15, Oct. 2, Oct. 20, 1789.

2) This chorus, to the words "Welcome, mighty chief! once more" was pubUshed in
December 1789 unter the title of

Chorus sung before Gen. Washington as he passed under the triumphal arch
raised on the bridge at Trenton April 21st 1789. Set to music and dedicated by
permission to Mrs. Washington by A. Reinagle . . Philadelphia. Printed for the
author ..."
In my Bibhography of Early Secular American Music, p. 25 I contend that Rei-
nagles' piece was not sung on April 21st on the bridge at Trenton. The main reasons
for this startling contention are these: 1) The concert announcement distinctly says
"The music now composed by Mr. Reinagle". 2) The Sonata, as the original chorus
was referred to in all the contemporaneous newspaper accounts was sung "by a number
of young girls" unaccompanied whereas Reinagle's (rather indifferent) piece is engraved
for "2 voice, 1 voice, 3 voice" with pianoforte accompanied apparently reduced from
an orchestral score. Now, Reinagle's chorus is not identical with the President's March
which in 1798 furnished the musical basis for Joseph Hopkinson's 'Hail Columbia'.
Consequently, if Reinagle's chorus was not sung on April 21, 1789 on the bridge at Tren-
ton, some other musician must have furnished the music for the patriotic musical
address of welcome, which so impressed George Washington. According to certain
traditions, this musician was Philip Phile and it is also claimed, (without knowledge
of Reinagle's chorus etc.!) that the words were sung to the tune of the President's
March of which either Phile or Philip Roth is said to have been the composer. In
fact, Phile's authorship of the President's March hangs on a satisfactory solution of
the problem whether the President's March was sung on the bridge or not. Those in-
terested in this puzzle are referred to my 'Critical Notes on the origin of Hail Columbia'
(Sammelbande d. IMG. 1901—2) where I mention musical reason for my opinion that
the President's March was not sung on said occasion.

— 188 —

Act 2d.

Chorus^)

Overture of Vanhall

Song Mrs. Sevvell

Duett, Piano Forte and Violin of Mozart

Overture .. ., Ditters

THIRD CONCERT.
Act 1st!

Overture Carlo Stamitz

Song Mrs. Sewell

Solo Violoncello Mr. Capron

Quartett Clarinet Mr. Wolfe

Song Mrs. Sewell

Act 2d.

The 6th Periodical Overture of J. Stamitz

Song Mrs. Sewell

Sonata Piano Forte Mr. Reinagle

Symphonia Gossec

The same number of concerts, at Corre's Hotel, was adhered to during
the next three years. In the meantime, Reinagle had again moved to Phila-
delphia and it fell to Capron's lot to "open" the subscriptions. In this he
was assisted during the winter of 1790 — 1791 by a Mr. Kullin. The first
concert was to be on Jan. 3, 1791 and the others were to follow in fortnightly
intervals^), but on Jan. 3d Capron found himself obliged by the "combina-
tion of many circumstances" to change the dates to Jan. 10th, Jan, 24th
and Feb. 7th. Beyond this and the notice on Dec. 31st, 1790 that a "Mr.
Luby will also perform on the Spanish guitar and sing" I have found no
reference to the concerts in the Daily Advertiser except the usual details
of management, f. i. that strangers could be admitted for ten shillings for
each concert if introduced by a subscriber.

The series of 1792 also began rather late, on February 28th and was
continued on March 13th and 20th3). Henri Capron divided the responsi-
bilities and the profits between himself, Mr. Van Hagen, sen., who needs
no further introduction to the reader, and George Edward Saliment, "pro-
fessor of music lately arrived"", teacher of singing in Enghsh and French,
of the guitar and German flute on which he styled himself a master*). These
three gentlemen submitted on Feb. 7th in the Daily Advertiser the following
conditions of subscription:

I. A subscriber paying five dollars will receive a ticket which will admit to the
three concerts, a gentleman, a lady, and two misses or masters, under fourteen years
of age.

1) Apparently the same as sung at the first concert.

2) Daily Advertiser, Dec. 21, 1790.

3) Daily Advertiser, Feb. 25, March 13 and March 20, 1792.

4) Daily Advertiser, Aug. 18. 1791. Sahment remained true to New York but
disappears from the directories after 1800.

— 189 —

II. A single subscriber paying three dollars, will receive a ticket which will admit
a gentleman or lady to the three concerts.

III. A ticket to admit a gentleman or lady, to a single concert, ten shillings.

IV. A ticket to admit a gentleman and lady to a single concert two dollars.

V. The subscription money to be paid on delivery of the tickets.
After each Concert a Ball.

The conditions being satisfactory to the public, the concerts were
held on the dates mentioned with these offerings:

FIRST CONCERT.
Act I

Symphony of Pleyel

Piano Forte Concei'to Mi*. Van Hagen

Song Mrs. Hay

Violin Concerto P. A. Van Hagen, jun.

Violoncello Concerto Mr. Capron

Act II.

Symphony of Pleyel

Flute Concerto Mr. Saliment

Song Mrs. Hay

Violin Concerto Mr. Van Hagen

Symphony of Pleyel

SECOND CONCERT.
Act I

Overture of Henry IV by Martini

Piano Forte Concerto Mr. Van Hagen

Song Mrs. Hay

Violin Concerto P. A. Van Hagen, jun.

Flute Concerto Mr. Saliment

Act 2d.

Interlude of Henry IV by Martini

Solo Violoncello Mr. Capron

Song Mrs. Hay

Violin Concerto Mr. Van Hagen

THIRD CONCERT.
Act I
Overture

Song Mr. Capron

Forte Piano Sonata, by Pleyel .. .. Mr. Van Hagen
Tenor Concerto P. A. Van Hagen, jun.

Act II

Overture of the Deserter [Dibdin or Monsigny]

Flute Concert Mr. Saliment

Song Mr. Capron

Violin Concerto Mr. Van Hagen

Overture of Rose and Colas [Monsigny]

Shortly afterwards Henry Capron took up his residence at Philadelphia
and the Subscription-Concerts were continued at Corre's Hotel under the

— 190 —

management of Ct. E. Saliment, who soon seems to have dropped out, and
Mr. and Mrs. Van Hagen, lately from Amsterdam who was to perform
"concertos, sonatas and accompanyments on the pianoforte" as we are in-
formed in the proposals on Sept. 27, 1792 in the Daily Advertiser. The
managers had also succeeded in engaging the "vocal powers" of the famous
Mrs. Mechtler, "lately from England". As far as the solo numbers of the
programs are concerned, they resulted more or less in an exhibition of the
abihties of the Van Hagen family with a plentiful display of Pleyel's music.
Here are the three programs of the three concerts on Oct. 15, Oct. 29 and
Nov. 12, 17921):

FIRST CONCERT.
Act I.

Grand Overture of Pleyel

Song Mrs. Mechtler

Forte Piano Concerto Mrs. Van Hagen

Violin Concerto P. A. Van Hagen, jun.

Flute Concerto Mr. Saliment

Act II.

Violin Concerto Mr. Van Hagen

Song Mrs. Mechtler

Forte Piano Concerto Mrs. Van Hagen

Sinfonia Finale of Pleyel

Several gentlemen, amateurs, of the St. Cecilia Society in this city, have obligingly
consented to honor the performance with their assistance.

SECOND CONCERT.
Act I.

Overture of Pichel

Forte Piano Concerto Mrs. Van Hagen

Song Mrs. Mechtler

Flute Concerto Mr. Saliment

Simphonie Concertante, of C. Stamitz

Act II.

Violin Concerto Mr. Van Hagen

Song Mrs. Mechtler

Forte Piano Concerto Mrs. Van Hagen

Simphonie Finale of Pleyel

THIRD CONCERT.
First Part.

Grand Overture of Lackwith [!]

Violin Concerto P. A. Van Hagen, jun.

Song Mrs. Mechtler

Forte Piano Concerto Mrs. Van Hagen

Second Part.

Flute Concert Mr. SaUment

Song Mrs. Mechtler

Violin Concerto Mr. Van Hagen

Rondo of Pleyel

1) Daily Advertiser, Oct. 10, Oct. 23, Nov. 3, 1792.

— 191 —

If the Van Hagens, contrary to tradition, gave tlieir Subscription-Con-
certs in the fall of 1792 instead of in the winter, their reasons must have
been weighty. Presumably they had heard that Messrs. James Hewitt,
Jean Gehot, B. Bergmann and WiUiam Young contemplated an encroach-
ment upon their monopoly and they hastened to reap a harvest before these
formidable competitors became active who called themselves in the papers
"professors of music from the opera house Hanoversquare and Professional
Concerts under the direction of Haydn, Pleyel, etc. London" and who pro-
mised to make their enterprise "entertaining and instructive by intro-
ducing every novel performance that Europe has produced" i). In this the
Van Hagens succeeded. Though the four gentlemen advertised the first
of a series of concerts "by subscription for hvelve nights" for Oct. 4, 17922)
they found themselves on the very day of performance compelled to post-
pone the entertainment which certainly would have been entertaining and
instructive with this program^):

Act I.

Overture Rossetti

Quartetto Wraniski [!]

Concerto Flute, Mr. Young C. G. Gloesch

Concertante for violin, flute, tenor, and violoncello Pleyel

Concerto Violoncello, Mr. Phillips Phillips

Act II.

Sinfonia Ditters

Concerto Violin, Mr. Hewitt C. Stamitz

Quartetto Flute Schmittbauer

Grand Overture Pleyel

More than likely the ambitious gentlemen had not studied their ground

carefully enough. Twelve concerts were decidedly too many for New York,

at least under the conditions proposed, namely that the subscriptions were

to be

"for ladies, one guinea and a half each — for gentlemen, two guineas each — for
a lady and gentleman, three guineas each — Non subscribers, one dollar each."

The enterprising quartet, or rather trio as William Young*) dropped
out, soon saw the discrepancy between their proposals and the willingless

1) The best known of the four was Jean Gehot. According to Fetis he was born
about 1756 in Belgium, travelled in Germany and France after 1780 and lived in Lon-
don in 1784, but he must have been there as early as 1781 as Pohl ("Mozart u. Haydn
in London', p. 370) traced him in London in that year as violin virtuoso. Eitner men-
tions numerous compositions by Gehot, 36 quartets, trios etc. and several theoretical
works. The identity of this Gehot with the "American" Gehot appears from John
R. Parker's Musical Reminiscences in the 'Euterpiad', 1822. Paiker also states that
Gehot died in obscurity and indigent circumstances. Of his compositions, composed
in America, only very few, and they insignificant, are to be traced.

2) Daily Advertiser, Sept. 25, 1792.

3) Daily Advertiser, Oct. 4, 1792.

4) According to Dunlap he was sentenced to death in 1797 for having killed in
a desperate mood the constable who came to arrest him for contracted debts.

— 192 —

of the New Yorkers^ accustomed to a more meagre musical diet, to sub-
scribe so much money for so many concerts. To be sure^ tliey stated on
November 3d that their reason for postponing their subscription concerts was
to obtain the celebrated singers, Mrs. Pownall (late Mrs. Wrighten) and Mrs. Hodgkin-
son, both recently from England, and as they were determined to engage the first singers
in America have spared no expence nor trouble (by separate journeys to Philadelphia,
etc. etc.) to gratify the amateurs of music.

However, the fact that they further announced that the first concert
would be held "as soon as the subscription [was] adequate to the expence"
and that, when this finally happened, they limited themselves to six concerts
instead of tw-elve clearly indicates other reasons besides the one published.
Nor did they, as will be seen, adhere to the original plan of introducing
"catches and glees by many other eminent singers from London", meaning,
of course, the singing members of the Old American Company.

Not before the middle of January, 1793 did Messrs. Hewitt, Bergman,
and Phillips — he too from London — meet with sufficient encouragement
to launch their enterprise. The first concert took place at Corre's Hotel on
January 23, 1793, the second on February 21st, and so forth on March 2d,
March 16th, March 25th and April 6th i). A peculiar detail of management
was this that subscriptions were kept open until the end of the series with
gradually decreasing prices. But more important is the fact that works by
Wanhal and Haydn were played from manuscript and that the latter's
'Passion of our Saviour' perhaps had its first performance in America on
March 25, 1793. This 'Passion' was none other than the 'Seven Words'
composed in 1785 for the cathedral of Cadiz, and shortly afterwards performed
at London under the title of 'Passione Instrumentale' :

FIRST CONCERT.

Act I.

Overture Haydn

Song Mrs. Pownall

Quartetto Girowetz

Song Mrs. Hodgkinson

Concerto Violoncello Mr. Phillips

Act II.

Concerto Violin Mr. Hewitt

Song Mrs. Hodgkinson

Song Mrs. Pownall

Finale-)

SECOND CONCERT.

Act I.

Overture Haydn

Song Mrs. Pownall

1) Daily Advertiser, Jan. 19, Feb. 16, March 13. March 23, March 28, 1793. To
avoid confusion it might be v. oil to state that several postponements and changes of
program were made. Only the jinal the dates and programs have been entered here.

2) The balls following the concerts were conducted by Mr. PhiUips.

— 193 —

ijij-JQ Schmidt

ggjjg Mrs. Hodgkinson

Concerto Violoncello Mr. Phillips

Act II.

Concerto Viohn Mr. Hewitt

gong Mrs. Hodgkinson

Duetto, Violin and Viola Messrs. He^Yitt and [?]

gQj^CT Mrs. Pownall

Overture Ditters

By particular desire

Song, 'The Primrose Girl' Mrs. Pownall

THIRD CONCERT.
Act I.

Sinfonia Vanhall, M. S.

gpng Mrs. Hodgkinson

Quartetto Pleyel

gong Mrs. Pownall

Concerto, Violoncello Mr. PhilUps

Act II.

Concerto Violin Mr. Hewitt

gong Mrs. Pownall

Overture Stamitz

gong Mrs. Hodgkinson

Finale Haydn

FOURTH CONCERT.
Act I.

New Overture Haydn, M. S.

gong Mrs. Pownall

Quartetto Pleyel

gong Mrs. Hodgkinson

Concerto Violoncello Mr. PhilUps

Act II.

Celebrated concertante, Violin, viola, clarinetto,

and violoncello Pleyel

gong Mrs. Pownall

Sinfonia Rosetti

gong Mrs. Hodgkinson

Finale, Battle Overture Hewitti)

FIFTH CONCERT.
Act I.

Overture, La Chasse Haydn

Song Mrs. Hodgkinson

Quartetto Pleyel

Song Mrs. Pownall

Concerto Violoncello Mr. Phillips.

1) This naively programmatic piece was first played on Sept. 26, 1792. The 'pro-
gram' will be given under benefit -concerts.

Sonne ck, Early Concert Life. 13

— 194 —

Act II.
The Passion of our Saviour, expressed in instrumental parts,
composed by Haydn.

Part 1. Introduction

2. Father [for]give them, they know not what they do.

3. To day thou shalt be with me in Paradise

4. Woman — behold thy son

5. My God, my God, why hast thou forsaken me

6. I thirst

7. It is finished

8. Into thy hands I command my spirit.
To conclude with the representation of an Earthquake.

Song IVIrs. Hodgkinson

Sinfonia Stamitz

Song Mrs. Pownal

Finale Haydn

SIXTH CONCERT.
Act I.

Overture Van Hall

Song Mrs. Hodgkinson

Quartetto Stamitz

Song Mrs. Pownall

Concerto Violoncello ]VIr. Phillips

Act 2 d.

Concertante Pleyel

Song Mrs. Hodgkinson

Overture Stamitz

Song Mrs. Pownall

Full piece Haydni)

In the following year the rival organisations again appeared on the plan
with a sUght interchange of forces. Under the direction of Messrs. Capron,
Hewitt and Saliment with Hulett as conductor of the balls^ a series of three
'City Concerts' was given at the City Tavern on Dec. 27^ 1793, Jan. 9 and

1) For reasons not mentioned this concert was "removed" from Corre's Hotel
to the City Tavern. The date was originally fixed for April 6, with this program, de-
voted entirely to Corelli and Haendel, and certainly more interesting than the one per-
formed

Act I.

Overture, Sampson Haendel

Song' Come ever smiling liberty' from the Oratorium of Judas

Maccabaeus Mr. PowTiall

1st Concerto Corelli

Duetto '0 lovely peace with plenty crown'd' Mrs. Hodgkinson and

Mrs. Pownall
Overture, Ariadne Haendel

Act II.

Overture, Jephta .. Haendel

Song 'I know that my Redeemer liveth', from the 'Messiah' Mrs. Pownall

2d Concerto CorelU

Recit. and song 'Comfort ye my people', from the Messiah Mrs. Hodgkinson

Overture, Occasional Haendel

— 195 —

Jan. 23, 17941). Mr. and Mrs. Van Hagen and Mr. Phillips, in charge of
the Terpsichorean features, in turn and evidently jealous of their ante-
cedents, opened both in French and English a subscription for three ^Old
City Concerts', held at Corre's Hotel on Jan. 7, Jan. 21 and Feb. 4, 17942).
The City Concerts were j^redominantly instrumental in character, the only
singer engaged being Mrs. Pownall, assisted occasionally in French duets
by Mr. Capron. On the other hand, in the Old City Concerts vocal and
instrumental music were more evenly distributed. Against Mrs. Pownall
were pitched Mr. and Mrs. Hodgkinson and Mr. Prigmore, also the precocious
talents of Master Van Hagen being featured. A slight difference appears
further in the arrangement of the programs. In the Old City Concerts the
virtuoso element clearly reigned supreme and no definite place seems to
have governed the selection of the orchestral numbers, whereas the pillar,
as Theodore Thomas would have said, in the programs offered by Capron
clearly was formed by Haydn, whose name appears not once on the pro-
grams of the Old City Concerts. Otherwise the concerts had much in common
and the similarity between the conditions of subscription was probably
more an outcome of business considerations than of a competition for public
favor. The terms at the City Concerts, for instance, were these. Each
subscriber paid 5 dollars which entitled him to a ticket to admit himself
and two ladies. A "single" subscriber paid 3 dollars and a non-subscriber
10 shillings for each concert. The price of admission for a young lady or
gentleman under 14 years of age was 5 shillings, a condition somewhat
recalling to our mind the — to Americans, at least, — odd custom prevailing
in German where "Kinder und Militar zahlen die Halfte". The programs
read:

CITY CONCERTS.

FIRST CONCERT.

Act I.

Overture Haydn

Concerto Piano Forte Mr. Raiisch

Song Mrs. Pownall

Concerto Flute Mr. Saliment

Act II.

Concerto Violoncello Capron

Song Mrs. Pownall

Solo, French Horn Mr. Pelissier

French Duet for 2 voices Mrs. PowTiall and ^Ir. Capron

Finale .. .. Pleyel

1) Daily Advertiser, Dec. 26, 1793; Jan. 7, and 20, 1794.

2) Daily Advertiser, Jan. 3, 15 and 30, 1794.

13"

— 196 —

SECOND CONCERT.

Act I.

Sinfonie Vanhall, M. S.

Song Mrs. Pownall

Quartette, Pleyel Messrs. Hewitt, Bergman, Du Champ

and Capron
Duett for 2 voices 'How sweet is the

breath of morn' Mr3. Pownall and Mr. Capron

Sonata Piano forte Madame de Seze.

Act II.

Concerto Flute Mr. Saliment

Song, accompanied on the PianoForte IMadame De Seze

Duett, Violin and Violoncello .. .. ^Messrs. Hewitt and Capron

Song Mrs. Pownall

Finale Haydn

THIRD CONCERT.

Act I.

Overture, La Reine Haydn

Song, accompanied on the Piano Forte Madame de Seze.

Quartetto Messrs. SaUment, Hewitt, Du Camp

and Capron

Song Mrs. Pownall

Concerto Violin Mr. Hewitt

Act II.

Concerto Piano Forte Mr. Rausch

Song, accompanied on the Pedal Harp Madame De Seze

Concerto Violoncello Mr. Capron

Song Mrs. Pownall

Finale, La Chasse Haydn

OLD CITY CONCERTS.

FIRST CONCERT.

Act I.

Overture Pleyel

Song 'Mansion of peace' Mr. Hodgkinson

Concerto Tenor Master Van Hagen

Song 'Answer to the Mansion of peace' Mrs. Hodgkinson

Concerto, grand Piano Forte .. .. Mrs. Van Hagen

Duett 'How sweet in the woodlands' Messrs. Hodgkinson and Prigmore

Act II.

Concerto Clarinett Mr. Wolf

Song 'Blue ey'd Patty' Mr. Prigmore

Solo, French horn Mr. Pellesier

Bravoura, 'Cease gay seducers' .. .. Mrs. Hodgkinson

Sonata on the Forte Piano for four hands Mr. and Mrs. Hodgkinson

Duett 'Could you to battle march

away' Mr. and Mrs. Hodgkinson

Concerto Violin Mr. Van Hagen

— 197 —

SECOND CONCERT.
Act I.

Overture Stamitz

Hunting Song Mr. Prigmore

Concerto Tenor Master Van Hagen

Bravura 'The bleak wind whistles' .. Mrs. Hodgkinson
Sonata, Piano Forte Mrs. Van Hagen

Act II.

Overture, Henry 4th Martini

Song 'Poor Richard' Mr. Hodgkinson

Concerto Violin ]VIr. Van Hagen

Song, accompanied by the clarinet,

'Sympathetic echo' IMrs. Hodgkinson

Concerto Pianoforte Mrs. Van Hagen

Comic Duett Mr. & Mrs. Hodgkinson

Finale De Zaides.i)

THIRD CONCERT.

Act I.

Overture by Plyel

Trio 'Incitement to virtue' Mr. & Mrs. Hodgkinson & Mr. Prigmore

Concerto Violin Master Van Hagen

Song 'Humanity' Mr. Hodgkinson

Sonata on the Piano Forte Mrs. Van Hagen

Act II.
Entre Acte of Henry the Fourth

Song 'Generous wine' Mr. Hodgkinson

Concerto Violin Mr. Van Hagen

Song 'Remembrance' ]Mrs. Hodgkinson

Concerto on the Piano Forte .. .. Mrs. Van Hagen
(By desire) Comic Duett 'The jealous

man, etc' Mr. & Mrs. Hodgkinson

Finale, the Deserter Gretry [!]

During the same year, the rival managers must have come to an under-
standing and a junction of their forces was effected, for when the concert-
season opened, the Daily Advertiser on Dec. 12, and 18, 1794, possibly
much to the surprise of its readers, announced that Mr. and Mrs. Van Hagen,
Messrs. Hewitt and Saliment — Capron had again left for Philadelphia —
would co-operate in a series of three concerts at the New Assembly Room
in William Street "upon a much larger scale than heretofore", the vocal
parts to be held by Mrs. Hodgkinson, Mrs. Pownall and Mr. Benjamin Carr.
Wherein this larger scale consisted is difficult to see but perhaps some plau-
sible explanation was deemed necessary in view of the fact that the sub-
scription-price was raised from 5 to 6 dollars for two ladies and a gentleman,
from 3 to 41/2 dollars for one lady and a gentleman, etc. Of course,
this advance in the price of subscription was due primarily to the fact that

1) Dezede, 1740—92.

— 198 —

otherwise a co-operation would have been to the disadvantage of the ma-
nagers rather than to their advantage. Finally, it is noteworthy that the
series was not entitled Old City Concerts, but City Concerts. They were
held on Feb. 21, March 5 and March 19, 1795 with these programs^):

FIRST CONCERT
Act I.

Sinfonie Pleyel

Ballad Mrs. Pownall

Concerto Flute Mr. Saliment

Song Mr. Carr

A Concerto Piano Forte Mrs. Van Hagen

Act II.

Overture Girovetz

Song Mrs. Hodgkinson

Quartetto Messrs. Hewitt, Bergman, Van

Hagen, jun., Rosendall

Song Mrs. Pownall

Full Piece Haydn

SECOND CONCERT.
Act I.

Storm Overture Mr. Hewitt

Song Mr. Carr

Concerto Piano Forte Mr. Van Hagen

Song Mrs. Hodgkinson

Concerto Flute Mr. Saliment

Act II.

Concerto Violin Mr. Hewitt

Song IVIrs. Pownall

Duet, for violin and viola Messrs. Hewitt and

Van Hagen, jun.

Song Mr. Carr

Finale Pichl

THIRD CONCERT.
Act I.

Grand Symi:)hony Pichl

Song Mrs. Hodgkinson

Quartetto Messrs. Van Hagen jun , Van

Hagen, sen., Bergman and
Hewitt

Song Mrs. Pownall

Concerto Pianoforte Mrs. Van Hagen

Act II.

Concerto Flute Mr. Saliment

Song Mr. Carr

Concerto Violin Mr. Van Hagen

Song IVIrs. Hodgkinson

Finale Pleyel

1) Daily Advertiser, Feb. 18, March 2, March 17, 1795.

— 199 —

This co-operation appears not to have been to the taste of Hewitt and
SaHment. They withdrew and left the field to Mr. and Mrs. Van Hagen
who went into partnership with Frederick Rausch, music teacher and dealer
in instruments, and John Christopher Moller, late of Philadelphia. At first,
on Dec. 4, 1795 in the American Minerva, they announced under the sug-
gestive heading of Old City Concert a series of four concerts but contented
themselves a few weeks later, on Dec. 26th, with a subscription for three.
The concerts were held at the New Assembly Room on Jan. 12, Jan. 21 and
Feb. 2, 1796 with Miss Broadhurst as attraction in the "vocal parts" i).

FIRST CONCERT.
Act I.

Sinfonia Gyrovetz

Concerto Flute, by a gentleman lately from
Europe

Song 'Amidst the allusions' Miss Broadhurst

Duetto Piano Forte Mrs. Van Hagen and Mr. Rausch

Concertante Mr. V. Hagen and Van Hagen, jun.

Act II.

Sinfonia Pichl

Concerto Piano Forte Mrs. Van Hagen

Song 'How can I forget the fond hour' .. Miss. Broadhurst

Concert Mr. V. Hagen

Finale Haydn

SECOND CONCERT.
Act I.

Sinfonia Pleval

Song, 'Court one not to scenes of pleasure .. Miss Broadhurst

Fantasie Avith a rondo Mr. Rausch

Song Bravoura Miss Broadhurst

Concerto Violin Mr. Van Hagen

Act II.

Sinfonia Pichl

Song 'Twas within a mile of Edinburg town' Miss Broadhurst

Duetto Piano Forte and Tenor Messrs. MoUer, Van Hagen

Finale Haydn

THIRD CONCERT.
Act I.

Grand Overture Wranitzky

Song 'Kind Zephyr wast my passing sighs' .. Miss Broadhurst

Sonata on the harp Mr. Relain

Song 'Tho, by the tempest' Miss Broadliurst

Concerto Piano Forte Mr. Moller

Act II.

Overture, Henry 4th Martini

Song 'O Nancy wilt thou fly with me' .. .. Miss Broadliurst

Concerto Violin Mr. Vanhagen

Finale Pleyel

1) American Minerva, Jan. 7, Jan. 18, Jan. 28, 1796.

— 200 —

So far it had been Philadelphia that robbed New York of some of her
best musicians but now Boston was beginning to act as a magnet. Thus
New York lost in 1796 the useful and energetic services of the Van Hagens.
Logically the continuation of the Old City Concerts fell upon Mr. Holler's
shoulders but unfortunately I am unable to submit data of consequence
beyond the mere fact that he actually did continue the concerts. Presumably
the programs and other data referring to the three Old City Concerts of 1797
for which Moller "by advice of his friends" opened a subscription in the
Minerva on Dec. 27, 1796 are hidden in one or the other of the daily papers,
but they escaped me. Or, possibly, he fared not better than did Messrs.
Hewitt, Rausch and Saliment who intended to revive the City Concerts
under the name of the City Subscription Concert in competition with Moller's
series!) but not finding the subscription adequate to the expense saw their
way clear for one concert only. Though this "annual" concert of Feb. 7,
1797 2) properly belongs to the benefit-concerts, its program may be inserted
here as it also represents the last sign of life of the City Concerts started
by Hewitt and his associates in 1793.

Act I.

Overture Haydn

Song Mr. Tyler

Concerto Pianoforte Mr. Rausch

Song Mrs. Hodgkinson

Glee 'Come live with me and be my love'

Battle of Prague, arranged for a full orchestra by Hewitt

Act II.

Concerto Violin Mr. Hewitt

Song Mr. Tyler .

Concerto Flute Mr. Saliment

Song Mrs. Hodgkinson

Glee 'Adieu to the village deUghts'

Finale Pichl

Nor did the Old City Concert last much longer. On Feb. 12, 1798 Mr.
Moller advertised in the Daily Advertiser subscription- concerts in which
would be introduced parts of the 'Messiah' but it does not appear that he
^ >was successful in continuing the concerts beyond the first. In fact, on the
same day, while giving the plan of the first concert, he was not in a position
to announce the exact date — it was to be advertised "in due time". As
the same advertisement was still running as late as March 14th it may be
inferred that the concert did not take place at all. At any rate, a series of
concerts was not given. The program of the first and last concert reads:

1) Minerva, Dec. 24, 1796.

2) Daily Advertiser, Jan. 30, 1797.

— 201 —

Part I.

Overture Pleyel

Song Miss MoUer

Concertante Messrs. Nicolas and

Averdile

Song Miss Broadhurst

Duett, grand Piano Forte Miss Moller and Mr. Geib

Full piece Hayden

Part II.

New Overture J. C. Moller

Song 'Comfort ye my people' Miss Broadhurst

Concertante Flute Mr. Saliment

Song 'I know that my Redeemer liveth' Miss Moller

Chorus (and the Glory) [!] The principal parts by Messieurs

Piercon, Shiptons and Lee, and by MissBroadhurst and Miss

Moller.

After this no subscription-concerts are mentioned during the last years
of the century. However, if undoubtedly the interest in such enterprises
had been waning, it should not be surmised that New York was without
concerts in addition to the usual benefit entertainments. As far as private
enterprises of a sustained character are concerned, it will be seen that the
center of the concert-season in New York, too, had merely shifted from the
winter to the summer and besides tliis it must be taken into consideration
that the activity of the several musical societies, though very little is known
of them, naturally and as was also the case in smaller European cities,
seriously interfered with subscription concerts as undertaken independently
by individual musicians.

The Harmonic Society of pre-revolutionary times seems to have died
a natural death when the war-clouds began to hover over New York.
It was to my knowledge the only musical society founded in the city
before the war but Mr. F. L. Ritter, while not mentioning the Harmonic
Society, refers to an Apollo Society of which he says (on p. 135 of his History)
that it seems to have been the foremost among those musical societies . . .
estabhshed in New York about the middle of the last century. A very
interesting statement, but unfortunately Ritter forgot to mention his
source and therefore we feel justified in treating his statement with scep-
ticism ! However, after the war, soon another attempt was made to unite the
music lovers into a society and this attempt was followed by others with
various fortunes.

On Nov. 9, 1786 the Daily Advertiser announced that "the Society for
promoting vocal music [would] meet at 6 o'clock this evening at Mr. Hulett'si)

1) This was John Hamilton Hulett, dancing master, son and successor to old
Hulett who had died in 1785. John H. Hulett is still to be traced in the New York
Directory of 1805, but he does not appear in that of 1810.

— 202 —

School Room in Little Queen Street, agreeable to adjournment". Conse-
quently this meeting was not called to found the society. It therefore re-
mains open to further investigation whether or not the society was founded
prior to 1786 and it is also a matter of further research to ascertain what
became of it.

One year later, the same paper on Dec. 27, 1787 addressed "all lovers
of music" with proposals of "several musical amateurs, to establish a musical
society, both vocal and instrumental" and a meeting at which "to consider
and adopt some fundamental rules", was called at the Charity Schoolroom
in John Street first for Dec. 29th and then for Jan. 5, 1788 — when "per-
formers only [were] requested to attend". The meeting evidently led to
something tangible for on Feb. 6th, in the Daily Advertiser, John Wood,
Secretary by order of the moderator, called a special meeting of the members
of the ''Musical Society of the City of New York".

Concerning the first year of the society's activity the newspapers observe
silence and not until June 1789 do we hear of the object of the society. Then,
on June 12th in the Daily Gazette, a concert of sacred music was advertised
for June 18th at the Lutheran Church "by a few lovers of music having
formed themselves into a Society for the purpose of promoting that noble
art", i. e. sacred music. The proceeds were to cover the payment of an
organ already purchased by way of individual contributions and to otherwise
forward the designs of the society. That these 'few lovers of music" con-
stituted the members of the Musical Society becomes apparent from the
advertisement in the Daily Gazette of June 13th when it was said that on
June 18th the "Musical Society of the City of New York together with the
assistance of a Band of instrumental musicians" would perform the follow-
ing pieces:

1. Overture by Vanliall

2. Anthem, from Psalm 150 by .. Arnold

3. Jonah, an oratorio by Felstedi)

4. Symphony by Kammell

5. Anthem, from Psalm 80, by .. Woodward

6. Violin Concerto by Phile

7. Anthem, from 1. Cor. 15, by .. Keefe

8. Simphony Finale.

This is the only program of the society I have been able to discover and
the few remaining data on the Musical Society of the City of New York
were gleaned from the New York directories. Thus it would appear that
George Gilfert, musician and subsequently of some prominence as music
dealer, was the "director", sa7. president, in 1789, followed in 1791 by Isaac
Van Vleek, notary public and from 1792 to 1794 by Henry Will, pewterer.

1) More about this rather obscure oratorio under Boston.

— 2C3 —

The society, which had its meeting place in John Street, is not mentioned
in the directory of 1795 nor later and therefore apparently had ceased to exist.

In the meantime a society had been founded which, though not under
its original name, lived far into the nineteenth century i). It was the St. Ce-
cilia Society, "instituted", as we learn from the New York directory of
1795, "in 1791, with a view to cultivate the science of music, and a good
taste in its education [execution?]. The concerts [were] held weekly, on
Saturday evenings; the principal professors of music [in the city being]
members and performers at these concerts". The officers originally in charge
(see N. Y. Directory, 1792) were David Mitchelson as president, Lewis Ogden
as treasurer, and Isaac Van Vleek as secretary. Mr. Mitchelson held his
office for four years, when succeeded by Mr. Lewis Ogden. The last year
of the society's independent existence, 1799, then saw Mr. Joseph Fitch at
the helm, Frederick Rausch, the musician, being vice-president.

If this society clearly cultivated instrumental music, the very name of
another points to an activity in the realms of church music. "When the
'Uranian Society' was founded and when it went out of existence is doubtful.
The first reference to it is found in the Daily Advertiser, March 7, 1793
when a special meeting was to be held on the same evening at the City Hall
and the last may be gleaned from the directory of 1798 under the heading
'Uranian Musical Society', with Mr. Joseph Kimball as president and a sur-
prisingly long list of well-to-do and prominent citizens as members. In the
directory of 1797 it is expressly stated that "this society was instituted for
improvement in sacred vocal music. Elect the first Wednesday in January,
and meet every Wednesday".

1) Mr. Ritter had this to say (on p. 135):

"In 1791 a St. Cecilia Society was established but it lasted only a few years; the
cultivation of instrumental music was its aim. Mr. S. Johnson tells me that, about
1838, a gentleman, Mr. Ming, who belonged to it, told him that the St. Cecilia Society
failed because the public did not appreciate classical music. When a small band of
seven or eight musicians one night attempted to play in the theatre a portion of a Haydn
symphony, the "gods" in the gallery cried out "Stop that noise; give us 'Bonypart
crossing the Rhine', 'Washington's March', or 'Yankee Doodle'." On the following
night, when the musicians repeated the "offense" by again attempting to play Haydn,
they were greeted with "cat calls", rotten eggs, and bouquets of a variety of vege-
tables".

This anecdote is amusing, but it is an anecdote and should not be taken seriously.
It is very characteristic of Ritter's attitude towards early music in America that he
mentions this occurrence in the same breath with the activity of the St. Cecilia Society
though it did not happen at its concerts and without asking himself whether such
things did not happen elsewhere besides in America and whether it really happened
"because the public did not appreciate classical music". As a matter of fact, he might
have gleaned from Dunlap that the public, responsible for said incident, consisted
of two drunken ship-captains!

It may also be opportune to remark here that nothing goes to show that the 'Eu-
terpean Society', still flourishing (?) when in 1842 the New York Philharmonic Society
was founded and looking back on a career of several decades was founded before 1800.
If, as Mr. Ritter says on p. 223, about 1840 "this society was considered as perhaps

— 204 —

Merely mentioning a 'Polyhymnian Society' which must have existed
in I7991) and possibly was founded in 1798 as in April 1799 at the "first
quarterly meeting " "new" officers were to be elected, I submit the few-
data I found concerning the Columbian Anacreontic Society. The name
implies an imitation, and as the model-society was dissolved in 1786, even
a revival on American soil of the Anacreontic Society of London. The latter
had been established by several noblemen and wealthy amateurs towards
the close of the 18th century and its fortnightly concerts were held at the
Crown and Anchor Tavern in the Strand. The concerts, in which the leading
members of the musical profession took part as honorary members, were
followed by a supper, after which the president or his deputy sang the con-
stitutional song 'To Anacreon in Heaven' (which later on was to furnish
us Americans the musical substratum of both 'Adams and Liberty' and
'The Star Spangled Banner'). This apostrophe was succeeded by songs in
every style and especially by catches and glees sung by the most eminent
vocalists of the day (Grove). That these songs — sung ajter supper in a
society for men only — were unfit for the ears of the Duchess of Devonshire
is not surprising. Still the indignation and disgust of this lady, then leader
of the haut-ton who, as Parke in his anecdotic Memoirs narrates, was foolish
enough to clandestinely attend one of the meetings, was so amioying to the
members that the society soon afterwards, in 1786, declared itself dissolved.

In New York, to be sure, there were no noble men but there were wealthy
amateurs enough of a con\'ivial bend of mind, who had no objections against
a broad joke, if they could swallow it with a bumper of Madeira, who liked
music in general, and whom the spirit easily would move to sing out drinking

the oldest musical society in the United States" and "was regarded as the lineal des-
cendant of the old Apollo", at least the last part of his statement should be encircled
with question-marks. Had the compiler of the city directories for 1800 continued the
practice of enumerating the musical societies, it would be easy enough to ascertain
the year of foundation of the Euterpean Society, but unfortunately he did not.

Now, Mr. Thomas Goodwin, whose 'Sketches and impressions' from his 'after
dinner-talk' R. Osgood Mason published in 1887 had this to say: "The Euterpean,
an amateur orchestra, was already an old organisation half a century ago. It had
been well managed, and owned a small library and several valuable instruments . . .
I have a program of its forty-eighth anniversary concert, given January 21, 1847, which
would carry its organisation back to the last century". This means that the society
was founded either on Jan. 21, 1799 or on Jan. 21, 1800. I am inclined to accept the
latter possibility, for these reasons. While the fact that the Euterpean Society is not
mentioned in the papers of 1799 and 1800, not even meetings being called through
the medium of the press, as was customary, may not carry much weight, the other
fact, that in the account of the procession in memory of George Washington on Dec. 31,
1799 both the Philharmonic and the Columbian Anacreontic Society are mentioned
but not the Euterpean, makes me suspicious ! The more so, as the Euterpean Society
is not even enumerated among the musical societies in the directory of 1799, issued
after January, 1799! For these reasons, I doubt very much that the Euterpean Society
was founded before January 21, 1800.

1) Daily Advertiser, April 4, 1799.

— 205 —

songs like 'To Anacreon in Heaven' or catches and glees in Anglo-Saxon
fashion. It needed but a "jolly^ good fellow" with recollections of the happy
days of the Anacreontic Society in dear, old London to mould his kindred
into a society and him they found in John Hodgkinson, a disciple of Bacchus
and irrisistible as actor and singer, whom Dunlap called "the soul of our
musical societies". At any rate, it is not a violent supposition to consider
Hodgkinson the moving spirit in the foundation of the Columbian Ana-
creontic Society in 1795 in view of the fact that he was the president during
the first four years of the club's existence i) with this formidable array of
convivial talent to assist him in the furtherment of Anacreontic ideals:

John C. Shaw, first Vice-President

Aquila Giles, second Vice-President

John Bleecker, Secretary

John Ferrers, Treasurer

WilUam Richardson. WilUam H. Robinson, Henry

Livingston, James Maitland, James Cuyler, John

K. Beckman, Harmonics.
George Pollock, B. Winthrop, Joseph Stansbury.

Edward Moore, Richard Morris, A. Giles and James

Hewitt, standing Committee.

That the society was founded in 1795, at any rate not later, becomes

apparent from a concert program announced by Messrs. HcAvitt and Saliment

in the Daily Advertiser, June 6, 1795. As last number figures:

''^Collin's Odes on the Passions, to be spoken by ]Mr. Hodgkinson. With music
representative of each passion, as performed at the Anacreontic Society, composed
by J. Hewitt,"

in all probabiUty the earliest example of melodramatic music composed in

America. Beyond this and personal data on the board of managers, very

little information is to be gleaned from contemporary sources, but that the

society flourished for a number of years, is certain. Possibly some day

the constitution, and by-laws, the original as well as the re\dsed and

amended laws and regulations "of March ISOO^) will turn up and also

a goodly collection of programs which would enable us to trace what

music and when it was performed at the regular concerts, usually given

at the Tontine Coffee House following the business meetings. In the absence

of such documents the supposition may not be amiss that the Columbian

Anacreontic Society gave quite a stimulus to the musical Ufe of New York,

particularly towards the cultivation of glees and kindred music. One feature,

and in this the New York society seems to have differed from its model,

clearly stands forth from the many business-advertisements of the society:

the annual 'Ladies Concert' towards spring. Nor were the regular concerts

1) N. Y. Directories, 1797 and 1798.

2) Daily Advertiser, Nov. 4, 1800.

— 206 —

given behind closed doors, so to speak, for it appears to have been the pri-
vilege of the members to share the entertainments in compan)^ of the ^^sito^s.
Thus managed, the society could not possibly arouse the suspicions of Le
Donne Ciiriose and gentlemen of the stamp of the Duchess of Devonshire
and at least during the first years of its existence the Columbian Anacreontic
Society enjoyed an excellent reputation. Otherwise the gentlemen in charge
of the procession in memory of George Washington on Dec. 31, 1799 would
hardly have dared to accord the Columbian Anacreontic Society a prominent
place in the procession together with the Philharmonic Society, the only
other musical society then existing in New York. The event must have
been regarded as a climax in the society's career for the members went about
the selection and arrangement of the music to be performed in celebration
of the obsequies of General Washington -with much carei). It was unani-
mously resolved to meet at the Green Room of the theatre one hour previously
to the moving of the general procession; the secretary was directed to
shroud the badges of the society (an Iiish harp) with black; the members
were instructed to wear a knot of black love ribbon attached to the centre
of the rose to which the Hne was pendant and finally the latter two resolutions
remained in full force during the meeting of the society for the remainder
of the season 2). Thus attired the Columbian Anacreontic Society certainly
did not cut a poor figure in the procession of which and of the subsequent
sacred concert the Daily Advertiser printed in form of a broadside the fol-
lowing account on Jan. 3, 1800 as furnished by the committee on arrangements :

On the 31st of December 1799, the day appointed by the citizens of New York
to pay the most solemn funeral honors to the Memory of their beloved Chief and Fellow
Citizen General George Washington .... the Citizens in their military and civil habili-
ments, with the foreigners of \a';ious nations all eager to join in the testimonies of
veneration for the Great Deceased, having assembled in their appointed order, the pro-
cession moved under the guidance of signals, to the mournful sounds of minute guns
and muffled bells, in the following order:

Officer and eight dragoons.

Sixth Regiment, in platoon, by the left, with arms and colours reversed — drums
and fifes in mourning . . . [followed Cavalry, Major. Gen. Hamilton and suite, St.
Stephen's Society and Tammany Society, Masonic lodges, commercial companies, college
professors, consuls etc.]

Music.
Anacreontic and Philharmonic Societies in complete mourning — the grand officers
bearing wands, decorated with crape — the members wearing their badges with crape
and bows of love ribbon.

1) Daily Advertiser, Dec. 27, 1799.

2) Daily Advertiser, Dec. 30, 1799. As an early illustration of the amusing pride
we Americans take in club-badges may serve the following. On May 17, 1798 such
members of the Columbian Anacreontic Society who "chuse" to attend the theatre
on May 21st in "compliment to their president" John Hodgkinson who had his benefit,
were informed in the N. Y. Gazette that seats would be reserved for them in the "Shake-
speare Box" and that they "will wear their badges".

— 207 —

[Then came the clergy, the bier etc. etc. The procession moved to St. Paul's Church.]
The following are the words of sacred music performed on the 31st ult. at St. Paul's
Church by the Anacreontic and Philharmonic Societies.

Solo.
Sons of Columbia, now lament
Your spear is broke, your bow's unbent
Your glory's fled
Amongst the dead
Your Hero lies
Ever, forever clos'd his eyes.

Chorus.
Columbians weep! weep still in louder moan
Your Hero, Patriot, Friend and Father's gone.

Dead 31 arch.
Then Recitative Solo
Female voices
General Chorus
Conclusion

Second Part
Elegy
How sleep the brave, who sink to rest
By all their Country's wishes blest?
By Fairy hands, their knell is rung
By Forms unseen, their dirge is sung

Recitativo Solo

Song

Grand Chorus
The Lord God omnipotent reigneth, etc ....

Still less is known of the artistic activity of the 'Harmonical Society',
instituted as the directory of 1797 stated, "on March 17, 1796 for the purpose
of cultivating the knowledge of vocal and instrumental music". From the
directory of the preceding year it is to be learned that the society met on
Tuesdays and that the management originally lay in the hands of John
Richardson, President, John S. Hunn, Secretary and John B. Cozine, Trea-
surer, three gentlemen who with a slight exchange of office controlled the
destinies of the society for the first three years. As in 1798 a second se-
cretary became necessary, it may be surmised that the business of the Har-
monical Society had grown considerably. The place of meeting seems to
have varied. Little's Tavern, the City Hall, Gaultier's Assembly Room,
De la Croix', Broadway and Vaux Hall, Broadway being mentioned. Un-
fortunately neither the number of concerts nor the programs are mentioned
in the papers and we hear only that the "instrumental harmony" began
usually at 7 o'clock. Finally, on Dec. 3, 1799, through the columns of the
Daily Advertiser, a punctual attendance of the members of the Harmonical
Society on Dec. 5th at llieir Concert Room in Broadway was requested on

— 208 —

business of great importance. The result of this meeting was a junction of
the St. CeciUa Society of 1791 and the Harmonical Society^ thus announced
in the Daily Advertiser Dec. 9, 1799:

Philharmonic Society
The Members of the St. Ceciha and Harmonical Societies, are informed that a
junction of these two has been formed under the name of the Philharmonic Society.

The first annual concert of the Philharmonic Society was held at the
Tontine Hotel in Broadway on Dec. 23^ 1800 "with a variety of vocal and
instrumental music by the most celebrated performers in the city"i); but
the new society had made its first public appearance, as we know, on that
memorable day of Dec. 31, 1799. How long the society lasted, I am not
prepared to prove but it would not surprise me to learn that the several
attempts at a Philharmonic Society during the first decades of the nine-
teenth century, of which we read in histories, all refer to the career of the
same one Philharmonic Society founded in 1799 and growing out of the
St. Cecilia of 1791 and the Harmonical Society of 1796.

It was intimated above that towards the close of the century the centre
of the concert-season shifted from the winter to the summer, as far as con-
certs are concerned that were independent of musical societies. This pe-
culiar but not unprecedented development was principally due to the esta-
blishment of Joseph Delacroix' Vaux Hall Gardens and Joseph Corre's Co-
lumbia Gardens and Mount Vernon Gardens. It will also be seen that the
repertory there was by no means inferior to that of the subscription concerts
the place of which these summer-concerts took chronologically and ab-
solutely.

The probabilities are that New York possessed "rural felicities" before
1796 Like Mrs, Armory's Vaux Hall in Great George Street where, with a
Mr. Miller's tight rope dancing as main attraction, on June 25, 1793 a con-
cert of

"the most favourite overtures and pieces from the compositions of Fisher and
Handel" was given, ''the orchestra being placed in the middle of a large tree" in order
to render the prospect of the garden "beautifully illuminated in the Chinese stile with
upwards of 500 glass lamps. "^)

However, to have made good orchestral and vocal music a regular feature
belongs to the initiative of Joseph Delacroix, the caterer, unrivalled for his
delicious ice-cream, then not so common as now.

As a fore-taste of what he contemplated doing he gave at his elegantly
illuminated "Salloon", the Ice House Garden, no. 112 Broadwav on the

1) Daily Advertiser, Dec. 23, 1800.

2) Daily Advertiser, June 24, 1793.

— 209 —

evening of Sept. 15, 1794 with James Hewitt as leader of the band a "grand
concert of vocal & instrumental music" with this high-toned program^):

Act I.

Overture Haydn

Song 'The Wish' Miss Broadhurst

Concerto Piano Forte ^Ir. Rausch

Song 'Bravoure' Miss Broadhurst

Symphony Pleyel

Act II.

Concerto Flute Mr. Bingley

Song 'Keep your distance' Miss Broadhurst

Quartetto Violin Mr. Hewitt, etc.

Song 'When the mind is in tune' Miss Broadhurst

Finale Stamitz

Then, end of May 1797, he informed the public that he had elegantly
decorated his gardens — from now on called Vaux Hall Gardens — in "a
new taste" and pro\'ided accommodations for fifteen of the best musicians
who with the beginning of June would give a vocal and instrumental concert
three times a week, on Tuesday, Thursday and Saturday evenings. The
price of admittance was four shillings with a deduction to holders of season
tickets 2). To the keen disappointment of his guests Delacroix saw himself
obhged to take down the decorations of his garden on the night fixed for
the opening, June 13th and to postpone the entertainment to June 15th,
but thereafter things moved smoothly and in case of rain the concerts were
performed in the "great room". Of course, July 4th was a ^a?a-night and
on such occasions everything was done to "call to mind the American heroes".
If did not require much to attain this, for now as then a "transparent Ukeness"
of George Washington would arouse the liveliest enthusiasm of the company
and once 'Hail Columbia' had been given to our nation this song, of course,
would achieve the same result. The first season was not without accidents.
For instance, in July the band w^as obliged to leave New York in order to
fill a theatrical engagement at Boston, but Mr. Delacroix was not to be dis-
couraged. He postponed the concerts for a week in order to recruit another
band and when he continued his entertainments he had added vocal per-
formers to his forces and was bold enough to give concerts every evening^).

In the following year Joseph Delacroix rented for a term of several years
"the house and garden of the late alderman Bayard, near Bunker's Hill"*).
He again called the premises 'Yaux Hall Gardens' and continued his summer-
concerts, first three, later on four, a week shutting his place end of July for

1) Minerva, Sept. 1.3, 1796.

2) Daily Advertiser, May 22, 1797.

3) Daily Advertiser, July 12, 1797.

4) Daily Advertiser, May 5, 1798.

Son neck, Early Concert Life. 1-t

— 210 —

several weeks. During this year he lowered the price of admission to 2 shillings
and generously entitled for this sum the bearer "to a glass of ice cream punch".
In 1799 he added fire-works "made by the celebrated Mr. Ambrose" to the
attractions which consisted, besides the usual refreshments, illuminations etc.,
of the band, first under Hewitt and then under Everdell, and of the vocal
exhibitions of (mainly) Mrs. Oldmixon, Miss E. Westray and Mr. Jefferson^).
It also affords a curious glimpse into by-gone times if Delacroix briefly an-
nounces "No lanthorn — no exhibition" or remarks "the large barn in front
of Broadway will be open for the accommodation of carriages. The horses
can be securely tied". But New Yorkers ever have been fickle in patronizing
such enterprises and so it came to pass that on July 18th 2) the "Vauxhall
Garden [was] to let or for sale, for the term of six years". Whilst they lasted,
the concerts at Delacroix' Vauxhall contributed decidedly to the musical life
of New York and a few programs may follow to prove this.

JUNE, 10, 1797
Act I.

Overture Haydn

Song 'I never loved any dear Mary but you' .. Mr. Tyler

Sinfonie La Chasse Stamitz

Song 'Three sweethearts I boast' Miss Moller, Messrs. Tyler and

Lee

Full piece Vanhall

Act II.

Concerto Flute Mr. SaUment

Song 'Hunting cantata of Diana' Mr. Tyler

Sinfonis Pleyel

Song 'tho'by the tempest' Miss Moller

Glee 'Adieu to the village delight' Miss Moller, and Messrs. Tyler

and Lee

Finale Kozeluch

JUNE 17, 1797
Act I.

Overture Haydn

Song 'Lucy, or Selima's companion' Mr. Tyler

Sinfonia Vanhall

Song 'No more I'll heave the tender fish' .. Miss Moller

Catch 'How great is the pleasure' Miss Moller, Messrs. Tyler and

Lee

Concertant Pleyel Messrs. Hewitt, Saliment,

Moller and Sammo
Act II.

Overture Pleyel

Song 'Diana and Hebe' Mr. Tyler

Sinfonia Kozeluch

1) Daily Advertiser, May 14 and July 17, 1799.

2) N. Y. Gazette.

— 211 —

Song 'No that will never do' Miss MoUer

Glee 'How merrily we live' Miss Moller, Messrs. Tyler

and Lee

Full piece .. .. Stamitz

The concert to begin precisely at 8 o'clock and the whole season.

JUNE 23, 1797
Act I.

Overture Poloniska

Song 'Sweet lass of Richmond hill' Mr. Tyler

Sinfonie Vanhall

Song 'The Female cryer' Miss Moller

Concertante Pleyel

Act II.

Overture Wranisky

Song 'Old Towler' Mr. Tyler

Quartetto. Pleyel Messrs. Hewitt, etc.

Song 'How can I forget' Miss Moller

Glee 'Hark the hollow hills resounding' .. .. Miss Moller, Messrs. Tyler

and Lee

Finale Schmittbauer

JUNE 26, 1797
Act I

Overture Toeschi

Song 'The sweet little girl that I love' .. .. Mr. Tyler

Sinfonie Kozeluch

Song 'The poor little gipsy' Mrs. Seymour

Entre act Martini

Song 'How can I forget' Miss Moller

Full piece Haydn

Act II

Overture Dibble

Song 'Lovely Nan' Mr. Tyler

Concerto Piano Forte Mr. Moller

Favourite Hvmting Song Mrs. Seymour

Serenata Davaux

Song 'How d'ye do' Miss Moller

Finale Kreutzer [R. Kreutzer]

JUNE 28, 1797
Act I

Overture Haydn

Song 'Fa la la' Mrs. Seymour

Quartetto Pleyel

Song 'And hear her sigh adieu' Mr. Tyler

Duett 'One short moment' Miss Moller and M. Tyler

Allegro Treller

Song 'Tis in vain' [Miss Moller

Finale Vanhall

Act II

Sinfonie .. Toeschi

Song 'As t'other day' Mr. Tyler

— 212 —

Overture Pichl

Song 'The Tobacco box' Mrs. Seymour

Presto Leffler

Song 'No that will never do' Miss MoUer

Glee 'How merrily we live' Miss MoUer, Mr. Tyler etc.

Finale Toeschi

JULY 4, 1797
Act I

Grand Overture Haydn

Song 'Little Sally' Miss MoUer

Quartetto for the French horn, violin, tenor

and basso Messrs. Dupuis, Hewitt, Gilfert

and Desezs.

Song 'Three sweethearts I boast' Miss Moller

Glee 'Lightly tread this hoUowground' .. ..
Battle Overture, in commemoration of the

4th July Hewitt

Act II

Concerto Flute Saliment

Song 'Tantivy, bark forward' Miss Moller

Sonata Piano Forte Mr. Moller

Glee 'Here in cold Grot'

Finale Pleyel

JULY 6, 1797
Act I

Overture Paderchi

Song 'The Wish' Miss Moller

Quintetto, Hewitt, Saliment, etc Pleyel

Song 'How d'ye do' Miss Moller

Sinfonie Vanhall

Glee 'Hark the lark' Miss Moller, etc.

Presto Stamitz

Act II

L'AUegro Perdoni

Song 'Tho'by the tempest' Miss Moller

Rondo 'A pretty little plow boj' ', Piano Forte Mr. Moller

Glee 'Hail social pleasure' Miss Moller, etc.

Finale .. Pleyel

JULY 8, 1797
Act I

Overture Wiska [?]

Song 'Ruby Aurora' Miss Moller

Quintetto, French horn Mr. Dupuis

Song 'Winsome Kate' Miss Moller

Sinfonie Bach

Act II

Concertante, Violin Hewitt

Song 'From the EUza' .. Miss Moller

Overture Canabichi [!]

Song 'No that will never do' Miss Moller

Finale Mustcropo [!]

— 213 —

Somewhat different in character was the music offered at B. Isher wood's
Eanelagh Garden, near the Battery and "known by the varigated lamps
over the door"i). Though announced as nightly concerts of vocal and
instrumental music, the very form of the announcement shows that the
instrumental music was of minor importance. It was furnished by "Messrs.
Everdell, Seymour, Nicoh etc." 2). Nor was the vocal music of a high grade,
but perhaps New York wanted just then a plentiful supply of jyopular songs.
Mr. Isherwood certainly supplied this demand as long as Ranelagh Garden
interested the city, that it to say, during the summers of 1798 and 1799.
The following three programs may serve to illustrate the point and show-
to a degree what were then considered catchy, stveet, popular songs.

JUNE 28, 1798

Father, mother and Luke Mr. Jefferson

Hoot awa ye loon Mrs. Seymour

The Waving willow Miss Broadhurst

Duet of Hey dance to the fiddle and tabor .. Mrs. Seymour

and Mr. Jefferson

The First of my amours WiUiamson

The Kiss Seymour

John Bull was a bumpkin born Jefferson

The Female cryer

Hymen's evening post Williamson

July 4, 1798

Ye sons of dull sloth Mrs. Seymour

Knowing Joe, or Plowman turned actor .. Mr. Jefferson

How can I forget the fond hour Miss Broadhurst

In honour of the day, the Boston Patriotic

Song, Adams and Liberty Mr. Williamson

Where is the harm of that Mrs. Seymour

Dickey Gossip Mr. Jefferson

Duett Hey dance to the fiddle and tabor .. Mrs. Seymour and I\Ir. Jefferson

Bonny Charley Miss Broadhurst

The New York Federal song 'Washington and

the Constitution' Mr. Williamson

The httle farthing rush-light Mr. Jefferson

And, 'Hail Columbia' Mr. Williamson

JUNE 1, 1799.

Act 1st. Songs — 'Alone by the light of the moon', Mr. Perkins — 'Sweet Nan
of Hampton Green', Mrs. M'Donald — 'The Highland laddie', Mrs. Old-
mixcn — 'Nong Tong Paw', Mr. Jefferson — 'On the lake of Killarney',
Mrs. Seymour — 'From scenes of love', Mr. Perkins — 'The Wedding day',
Mrs. M'Donald — 'The Soldier tir'd of war's alarms', Mrs. Oldmixon —
'The Waiter', Mr. Jefferson — The Sailor boy, Mrs. Seymour.

1) Daily Advertiser, July 3, 1798.

2) N. Y. Gazette, May 30, 1799.

— 214 —

Neither Mr. Delacroix nor Mr. Isherwood were destined to monopolize
the interest taken by New Yorkers in summer-concerts. Absorbing the
good points in the enterprises of both^ Joseph Corre, proprietor of Corre's
Hotel, "compleated" 'Columbia Garden', adjoining his house and facing the
Battery in May 1798 and forthwith engaged a "grand" band which was
to play three times a week^). Corre catered from the beginning, possibly
warned by the experience of his rivals, to the better class of citizens and
politely informed the public of his intention "to keep good order and strict
rules" in the hope that "no person [would] attempt to be admitted that
would not be agreeable and conduct themselves accordingly". He had gone
to the expense of installing an organ in his place, played every evening by
J. Chr. Moller^)^ and being a man of ideas he did not content himself with
an orchestra. For weeks at a time "Mr. Henry and the band of wind in-
struments" would take its place ^) and this was also the case on evenings
devoted mainly to popular or patriotic songs as for instance on July 4,
1798. Who conducted the orchestra during 1798 and 1800 does not appear
but in 1799 George Everdell seems to have been the conductor*). Further-
more, it will be seen that Joseph Corre freely placed his garden at the dis-
posal of such artists engaged by him who wished to give benefit concerts
and this certainly went far to increase his popularity both with them and
their friends.

These concerts at Columbia Garden lasted at least until July 1800^). In
the meantime, Joseph Corre had "created" the 'Mount Vernon Garden' in
Leonardstreet, two blocks above the hospital. It was opened on a similar
plan as his Columbia Garden on May 22, 1800 with James Hewitt as leader
of the band and the programs certainly left nothing to be desired. But
Corre was not satisfied with concerts only. Early in July^) he turned the
Mount Vernon Garden into a summer-theatre and gave theatricals with
several of the principal performers of the regular winter-company three
times a week. These performances were discontinued early in August and
when they were taken up again it was on "an improved plan". Not only
was there presented "a select dramatic piece of two, and sometimes three
acts, each night" as /. i. the Purse, The Romp, The Adopted Child, The
Highland Reel, but also regularly a ''grand concert" under James Hewitt.
For both the theatrical and concert numbers Corre had engaged at a consi-
derable expense Mr. and Mrs. Hodgkinson, Mr. and Mrs. Hogg, Mr. Fox^

1) N. Y. Gazette, May 14, 1798.

2) Daily Advertiser, June 13, 1798.

3) Daily Advertiser, July 9, 1799.

4) X. Y. Gazette, July 26, 1799.

5) Daily Advertiser, July 10. 1800.

6) Daily Advertiser, July 8, 1800.

— 215 —

Mr. Hallam jun., Mr. M'Donald, Mr. Lee, Mr. Jefferson, Miss Westray, Miss
Brett, Miss Harding and others i), who, of course, in accordance with thea-
trical traditions, each came in for a benefit-night. In this manner the
performances flourished until September 19th, "positively the last night".
It really seems to have been the last night as already on August 29th 2),
Joseph Corre "intending to retire from public business" advertised his
"Mount Vernon Theatrical Garden" as for sale. Corre must have considered
the purchase of his property quite an investment, for, said he:

In the course of two or three years it will be the handsomest spot on the con-
tinent for the above purpose, the street when regulated will raise the Garden from
12 to 20 feet above the level of the street, all around which will form a proper Mount,
with a fine circulation of air which will make the performance very agreeable to the
audience. The main street is now paving to the very corner of the street which will
render the walk much easier; there is a well of water as good as any in the city. To
give any further information about the garden and building is needless as the public
are well acquainted with the place by this time.

It is only fair to Mr. Corre to add here, as was done in the case of Mr.

Delacroix, a number of programs to illustrate what debt of gratitude the

music lovers of New York owed him.:

COLUMBIA GARDEN.

JUNE 13, 1798
Act I

Sinfonie Kozeluch

Glee 'Adieu to the village delights' Messrs. Tyler,Shapter and Lee

Duet, Violin and alto Messrs. Berault and Hewitt

Song 'The Cottagers daughter' Mr. Tyler

Allegro Haydn

Song 'The Highland laddie' Mrs. Oldmixon

Overture Pleyel

Act II

Concerto Organ MoUer

Glee 'Fare the well, thou native vale' .. .. Mrs. Oldmixon, Tyler, Shapter

and Lee

Song 'The Soldier tir'd' Mrs. Oldmixon

Concerto Flute Mr. Saliment

Song 'The Green Mountain farmer' Mr. Tyler

Catch 'Give the sweet delight of love' .. .. Messrs. Tyler, Shapter, Lee

Full piece Wranitzky

JULY 3, 1798
Part I

Song Mr. Tyler

Song 'The Silver moon' Miss E. Westray

Song 'Life's a country dance' Mr. Hodgkinson

Song 'Ere I fly to meet my love' Miss Brett

Song 'Come Kiss me' Mi-s. Hodgkinson

1) Daily Advertiser, Aug. 11, 1800.

2) Daily Advertiser.

— 216 —

Part II

Song 'The Capture or Sea fight' IVIrs. Hodgkinson

Song 'For chase' Miss Brett

Song 'DowTi the bourn,' etc Mrs. Hodgkinson

Song Mr. Tyler

Song 'Young Sandy once a wooing came' .. Miss E. Westray

JULY 4, 1798

Part I

Song 'Adams and Liberty' Mr. Hodgkinson '

Song 'As sure as a gun' Miss E. Westray

Song 'The Bird when summers charm no more' Mrs. Hodgkinson

Song Mr. Tyler

Song 'Jane of Aberdeen" Miss Brett

Duo 'Time has not thinn'd my flowing hair' Mr. and Mrs. Hodgkinson

Part II

Song Mr. Tyler

Song 'The Silver moon' Miss E. Westray

Song 'Tantivy' Miss Brett

Song 'Je ne vols, en tend pas, monsieur' .. .. IVIr. Hodgkinson

Ladies' new patriotic song 'Washington's March' Mrs. Hodgkinson

JULY 6, 1798
Part I

Song 'Adams and Liberty', by desire .. .. Mr. Hodgkinson

Song 'In my pleasant native plains' Miss Brett

Song Miss E. Westray

Song Mr. Tyler

Song 'Come buy of poor Kate' Mrs. Hodgkinson

Song 'I die for no shepherd, not I' The Y'oung ladyi)

Part II

Song Miss E. Westray

Song ' Je ne vols, entend pas, monsieur' by desire Mr. Hodgkinson

Song 'Fox chase' Miss Brett

Song '0 dearly I love somebody' The Y^oung lady

Song Mr. Tyler

Song 'Prithee fool be quiet' IMi'S. Hodgkinson

JULY 7, 1798

Part I

Song Mr. Tyler

Song 'Bonny of Aberdeen' Miss Brett

Song Miss Westray

Song 'The Heiress' Mrs. Hodgkinson

Song 'Jack Junck' Mr. Hodgkinson

1) The announcement to the day in the Daily Advertiser was headed: "For the
benefit of the distrest widow and daughter of a late American officer, and a brother
mason, on which occasion a young lady (the daughter alluded to above) will make
her first and only appearance in public".

— 217 —

Pakt II

Song Miss Westray

Song 'Brighton Sly' Mr. Hodgkinson

Song 'I fly to meet my love' Miss Brett

Song Mr. Tyler

Song 'Drop a tear and bid adieu' Mrs. Hodgkinson

JUNE 11, 1799
Act I

Sinfonia Kozeluch

Glee 'Fair Flora decks' Messrs. Tyler, Chapter & Lee

Quartetto Violin Mr. Hewitt

Song 'WTien the sails catch the breeze' .. .. Mr. Tyler

Minuetto Hayden

Song 'The tuneful lark' Miss E. Westray

Glee 'How shall we mortals spend our hours' Messrs. Tyler, Shapter and Lee

Song 'The Female cryer' Mrs. Oldmixon

Full piece Pleyel

Act II

Concerto Organ Mr. Moller

Song 'Let fame sound the trumpet' Mr. Tyler

Quartett Fluto Mr. SaHment

Song .. Miss E. Westray

Catch, 'Poor Thomas Day' Messrs. Tyler, Shapter & Lee

Song 'Ah! how hapless is the maid' .. .. Mrs. Oldmixon

Finale Ditters

JUNE 24, 1799

Act I

Overture Haydn

Catch Messrs. Tyler, Shapter and Lee

Andante Stamitz

Song 'Bright chantilleur' Mr. Tyler

Trio, Flute Mr. Saliment

Song 'Fair Rosaline' Miss E. Westray

Glee Messrs. Tyler, Shapter and Lee

Sinfonie Pleyel

Act II

Overture Cambini

Song 'Sweet Myra of the Vale' Mr. Tyler

Minuetto Haydn

Song Miss E. Westray

Catch 'Poor Thomas Day' Messrs. Tyler, Shapter & Lee

Finale Sterckel

JULY 1, 1799
Act I

Overture Kozeluch

Glee 'Adieu to the sailor's dehghts' Messrs. Shapter, Tyler and Lee

Allegro Cambini

Song 'Primroses deck' Mr. Tyler

Concertante Stamitz

Song 'The Primrose girl' Mrs. Seymour

Sinfonie Pleyel

— 218 —

Act II

Full piece Hoffmeister

Song Mr. Tyler

Andante Wranitzky

Song 'Ower of Glandower' Mrs. Seymour

Catch 'Eie, nay John' Messrs. Tyler, Shapter and Lee

Finale Haydn

JULY 9, 1799
Act I

Song 'You tell me, dear girl' Mr. Tyler

Song, Mrs. Seymour, 'The poor little gipsy'
Song, Mr. Bates 'John loves Jane, and Jane
loves John'

Act II
Song, Mr. Tyler, 'The Soldier's adieu'
Song, Mrs. Seymour 'What can a lassie do'
Song, Mr. Bates 'Jack at the windlass'
To conclvide with 'Adams and Liberty'
N. B. The' subscriber begs leave to inform the ladies and gentlemen that he
has engaged Mr. Henry and the Band of wind instruments to play every evening.

JULY 16, 1799
Act I

Cottage on the Moor Mr. Tyler

Cheering Rosary Mrs. Seymour

The Pleasures of London Mr. Bates

Act II

Diana Mr. Tyler

Edinburgh town Mrs. Seymour

A Tar for all weathers Mr. Bates

JULY 25, 1729
Act I
Overture of the Frescatanai), executed by the wind instruments

Song 'the Negro boy' Mr. Tyler

Minuet of Pleyel and Andante by Haydn

Song 'May I never be married' Mrs. Seymour

Act II
Overture of Peter the Great^)

Song 'Old Towler' Mr. Tyler

Minuet Haydn

Song 'Hope thou balmy comfort shed' .. .. Mrs. Seymour

Duetto 'The Tobacco box' Mr. Tyler and Mrs. Seymour

JULY 4, 1800

Act I

Overture Hayden

Song 'Tally ho' Miss Brett

1) Either Guglielmi, Paesiello or Cimarosa.

2) Probably Gretry.

— 219 —

Andante Kreutzer

Song 'Hail Columbia' Mr. Fox

Minuetto Stamitz

Song 'The Singing girl' Mrs. Hodgkinson

AUet^ro Kozeluch

Song 'To the memory of Washington' .. .. Mr. Hodgkinson

Full piece Pleyel

Act II

Sinfonie Sterckel

Song 'Adams and Liberty' Mr. Fox

Andante Hayden

Song 'Dearest youth' Miss Brett

Minuetto Van Hall

Song 'The moment Aurora' Mr. Hodgkinson

Allegro Cornell [!]

Song 'Prithee fool be quiet' Mrs. Hodgkinson

Full piece Hayden

MOUNT VERMONT GARDEN.

MAY 22, 1800
Act I

Overture Haydn

Song 'The Cottager's daughter' Mr. Tyler

Allegro Pleyel

Song 'The Caledonian laddie' Mrs. Seymour

Naval duett Messrs. Hodgkinson and Tyler

Andante Kozeluch

Song 'Come Kiss me, said he' Mrs. Hodgkinson

Sinfonie Dussek

Act II

Overture Stamitz

Song 'The Sailor boy' Mrs. Seymour

Duett 'How sweet is the breath of morn' .. Mr. and Mrs. Hodgkinson

Presto Wranitzky

Song 'the Beaux of the year 1800' Mrs. Hodgkinson

Sinfonie Abel

Song 'Away to the chase' Mr. Hodgkinson

Full piece Hayden

MAY 29, 1800
Act I

Overture Hayden

Song 'Diana', a hunting cantata Mr. Tyler

Andante Stamitz

Song 'The Father of Nancy' Mrs. Seymour

Allegro Kozeluch

Song 'Nong, tong, paw' Mr. Hodgkinson

Minuetto Sterckel

Song 'The Waving willow' Mrs. Hodgkinson

Sinfonie C4yrowetz

— 220 —

Act 2 d.

Overture Wranitzky

Song 'The Bonny bold soldier, Young Willy

for me' Mrs. Seymour

Polonaise Clementi

Song Mr. Tyler

Andante Hayden

Song 'Little thinks the soldiers wife' .. .. Mrs. Hodgkinson

Allegro Borghi

Song 'Life's a country dance' Mrs. Hodgkinson

Full piece Hayden

JUNE 3, 1800
Act I

Overture Kreutzer

Song 'Fragrant chaplets' Mrs. Seymour

Allegro Kotzeluch

Song Mrs. Hodgkinson

Andante Stamitz

Song .. Miss Brett

Sinfonie Hayden

Act II

Overture Haydn

Song 'Little Sally' Mrs. Seymour

Minuetto Sterckel

Song Mrs. Hodgkinson

Andante Pichl

Song Miss Brett

Full piece Pleyel

JUNE 5, 1800
Act I

Overture Hayden

Song 'Tom Tackle' Mr. Hodgkinson

Andante Pichl

Song 'The Shepherds boy' Miss Brett

Trio for VioUn and Violoncello Messrs. Hewitt, Saino and Miniere

Song 'Cheering Rosary' Mrs. Hodgkinson

Minuette Kozeluch

Song 'Death stole my lad away' Mrs. Seymour

Allegro Sterckel

Act II

Sinfonis Pleyel

Hunting song ^liss Brett

Andante Wranitzky

Song 'Group of lovers' Mr. Hodgkinson

Minuetto Kozeluch

Song 'The Little gipsy' Mrs. Seymour

Allegro Dusik [Dussek]

Song 'Sweet echo', accompanied on the flute

by Mr. Hodgkinson IVIrs. Hodgkinson

Full piece Hayden

— 221 —

JUNE 13, 1800
Act I

Overture Hayden

Song 'The Pipe upon the mountain' Miss Brett

Andante Pleyel

Song 'Sailor's journal' ^Ir. Hodgkinson

Minuette Wranitzky

Song 'Crazy Jane' Mrs. Hodgkinson

Allegro Carlo Stamitz

Act II

Sinfonia Clementi

Song 'The Fox chase' Miss Brett

Andante Dussick

Song 'Life's a country dance' Mr. Hodgkinson

Presto Hoffmeister

Song 'Prithee fool be quiet' Mr. Hodgkinson

Full piece Hayden

JUNE 16, 1800
Act I

Overture Pleyel

Song 'V^Tien Ruddy Aurora' Miss Brett

Andante Pichl

Song 'The Man and his wife' Mr. Hodgkinson

Minuetto Stamitz

Song 'Down the Bourne' Mrs. Hodgkinson

Finale Haydn

Act II

Sinfonie Sterckel

Song 'Ellen or the Primrose girl' Mr. Hodgkinson

Andante Monchausen [!]

Song 'William and Mary' Miss Brett

Minuetto Kreutzer

Duett 'To thee each joy possessing' Mr. & Mrs. Hodgkinson

Full piece Filtz

JUNE 19, 1800
Act I

Overture Stamitz

Song 'Love for love' Miss Brett

Andante Bottelswiller

Song 'The Soldiers adieu' Mr. Hodgkinson

Minuetto Sterckel

Song 'The Lake of Killarney' Mrs. Hodgkinson

Allegro Pleyel

Act II

Sinfonie Haydn

Song 'n vain I deck the lonely grave' .. .. Miss Brett

Andante Von Duelman

Song 'The London Buck' Mr. Hodgkinson

Minuetto Clementi

Song 'I attempt from love's sickness to fly .. Mr. Hodgkinson

Finale Dussick

— 222 —

JUNE 21, 1800
Act I

Overture Haydn

Song 'The Little waist' Miss Brett

Andante Stamitz

Song 'The Wounded hussar' Mr. Hodgkinson

Minuetto Porrelli [CorrcUi]

Song 'The Merry maids a Maying go' .. .. Mrs. Hodgkinson

Allegro Kozeluch

Act II

Sinfonie Pleyel

Song 'Tally ho' Miss Brett

Andante Stamitz

Song 'The Groupe of lovers' Mr. Hodgkinson

Minuetto Bach

Song 'My love's on shore' Mrs. Hodgkinson

Full piece Haydn

JUNE 27, 1800
Act I

Overture Hayden

Song 'When the men a courting came' .. .. Miss Bett

Andante Wranisky

Song 'The Wounded hussar' .. Mr. Hodgkinson

Minuetto Minschini

Song 'He's aye a kissing me' Mrs. Hodgkinson

Allegro Stamitz

Song Mr. Fox

Overture Kozeluch

Act II

Sinfonie Pleyel

Song 'Tuneful lark' Miss Brett

Andante Van Hall

Song 'The Group of lovers' Mr. Hodgkinson

Allegro Puzzlestopper [!]

Song 'The Masquerade' Mrs. Hodgkinson

Minuetto Eickner

Song Mr. Fox

Full piece Pleyel

JULY 7, 1800
Act I

Overture Kozeluch

Song Miss Brett

Andante Stamitz

Song 'What is a woman like' Mr. Hodgkinson

Allegro Clementi

Song 'The Joy of the chase' Mrs. Hodgkinson

Finale Pleyel

— 223 —

Act II

Sinfonie Haydn

Song 'How charming the camp' Miss Brett

Andante Wranizki

Song, The celebrated 'Laughing Song', by desire Mr. Hodgkinson

Minuetto • Cambini

Song 'The Wedding day' Mrs. Hodgkinson

Full piece Haydn

AUG. 11, 1800
The musical piece in 2 acts, of the Purse, or the American
Tars' Return . . .

Grand Concert interspersed with recitations

1. An Adress on the impossibility of pleasing everybody, exempli-
fied in the fable of the Old Man, the Boy and the Ass by Jefferson

2. Echo song 'How d'ye do' Mrs. Hodgkinson,

echoed by Miss Brett

3. Address to the memory of Columbus .. Miss Harchng

4. Song 'The Last shilling' Mr. Hodgkinson

5. Address 'Belles have at ye all' Miss Westray

6. Song 'The Twins of Latona' Mr. Fox

7. Rondeau by the orchestra Plyell

8. Song 'A Sailor loved a lass' Miss Brett

9. Song 'The London sportsman' Mr. Jefferson

AUG. 13, 1800

1. Sinfonie .. .. Haydn

2. Song 'The tuneful lark' Miss Brett

3. Allegro Pleyel

4. Song Mr. Fox

5. Recitation — Pindar's Razor grinder .. Mr. Jefferson

6. Song 'Bonny Jem of Aberdeen' Mrs. Hodgkinson

7. Song 'Henry's Cottage maid' Miss Harding

8. Address 'On False pride' with a few lines

to the memory of Howard Mrs. Hogg

9. Song 'Father and mother and Sukey' .. .. Mr. Hodgkinson
[This program was preceded by a comedy]

AUG. 15, 1800

1. Periodical Overture Haydn

2. Song 'Sanely's [?] tale of love' Miss Brett

3. Recitation On false pride Mrs. Hoog

4. Song 'Ellen arise' Mr. Hodgkinson

5. Recitation Belles have at ye all Miss Westray

6. Song 'The Learned pig' ]Mr. Jefferson

7. Minuetto Pleyel

8. Ballad 'My poor dog Tray' Mr. Fox

9. Duett 'Sweet is the breath of morn' .. .. Mr. and Mrs. Hodgkinson
[This program was followed by Dibdin's 'The Romp']

With tlieir revenues from teaching, selUng, copying music, with several
societies and theatrical companies to engage them for their orchestras and
with the salaries accruing from a participation in subscription-concerts, the

— 224 —

half hundred musicians, to be traced towards 1800 at New York, were able

to eke out a living, and very few only were skillful or enterprising enough

to risk benefit-concerts. That these few reaped an}i:hing like a harvest may

also be doubted for concerts have always and everywhere been a precarious

matter and presumably, if such statistics were available, the money lost

by musicians with the pardonable ambition to appear for their benefit before

the public would more than equal the money made. On the whole, it may

be said that concerts are nowadays managed on a sounder business-basis,

though often not on a sound ethical basis, whereas in the eighteenth century

the benefit concerts savored of charity. By dint of having given his services

cheaply or gratis to the musical societies, a musician would speculate on the

good- will and gratitude of their members but we need not go as far as Vienna

and her Tonkiinstler Sozietat to know that such societies frequently would

not feel under the slightest obligation to the generous virtuoso. In New York

probably the attitude of the music lovers became somewhat similar once

the idea of musical societies had gained ground but this did not deter the

"celebrated performers" and with their benefit -concerts they added

perceptibly to the musical life of the city.

Possibly the first benefit concert after the war was given by William

Brown on March 16, 1786 at the Assembly Room "consisting of one act,

in which [were] performed sundry select pieces of musick and a harmonical

piece taken from Ladies' favourite tunes with variations" i). That Brown

had engaged an orchestra for the occasion becomes evident from the fact

that after the concert

"the orchestra [was to] be removed in order that the ladies and gentlemen may
not be incommodated in their dancing".

As the ball was under the direction of the managers of the "Cxentleman's
Concert", presumably they also furnished their orchestra. Indeed Brown,
clever business man as he was, practically gave the concert under their pro-
tectorate and seeing their perfect satisfaction with his attention and assiduity
as conductor of the subscription concerts, gained their permission to further
the sale of tickets by adding to his announcement a "recommendatory
testimonial of their approbation".

Somewhere in his history, F. L. Ritter reflecting upon summer enter-
tainments remarks that in those days the summers at New York cannot
have been as hot as nowadays and if I am not mistaken this remark, evi-
dently written with a sigh, is meteorilogically correct. Still, those musicians
and concert-goers who assembled on July 20, 1786 to perform in and listen
to Alexander Reinagle's "Grand concert" at the Assembly Room in Broad-

1) Daily Advertiser, March 14, 1786.

— 225 —

way, certainly not an airy place, must have possessed a wonderful endurance

if they survived this program, so peculiarly printed in the New York Packet,

July 13 :

Act first

Overture Haydn

Song Miss Storer

Sonata, Piano Forte Mr. Reinagle

Song Ditto

Concerto Violin Mr. Phile

Song Miss Storer

Act secuond

Overture Haydn

Song Miss Storer

Duetto, Violin and Violoncello Messrs. Phile and Reinagle

Duetto Miss Storer and

Mr. Reinagle
Miscellaneous Quartet

Laughing Song Mr. Reinagle

Overture Haydn

Act first

Song — from the oratorio of the Messiah

Recit. — 'Comfort ye my people, saith j^our God ....

Aria — 'Every valley shall be exalted ....
Song — From the oratorio of Samson

'Return O God of Hosts, behold thy servant in distress' . . .
Song — From the Oratorio of the Messiah

'I know that my Redeemer liveth' . . .

Act second
Song — From the opera of La Bona Fighuola (Piccini)

'Furia di Donna irata in mio soccorso invoco' . . .
Duetto — 'O lovely peace, with plenty cro^^^l'd' . . .
Song — 'Now the time for mirth and glee

Laugh, and love, and sing with me;
Cupid is my theme of story.
'Tis his god-ships' fame and glory;
All must yield unto his law:

Ha! ha! ha! ha! ha! ha! ha!'

The first part was confessedly, though with a rather wide stretch of
imagination, in imitation of "Handel's Sacred Music, as performed in West-
minster Abbey". Reinagle further took pains to acquaint the pubhc that
Miss Maria Storer had sung the principal parts in Haendel's oratorios at the
musical festivals in Bath, Salisbury etc.

During the year 1787, to my knowledge, no benefit-concerts were given.
Then, on June 6, 1788, the Daily Advertiser informed the public that on
June 11th would be performed at the German Church in Nassau Street for
the relief of the German Reformed Church in the city of Albany the following
"Divine Music":

Sonneck, Early Concert Life. 15

— 226 —

1. Grand Overture by Martini

2. Anthem from the 34th Psalm

3. Jonah, an oratorio, composed by S. Felsted

4. Sinfonia

5. Anthem from Sundry scriptures

6. Sinfonia finale.

To prevent disorder, care was taken by the managers headed by the
Rev. Dr. Kunze that only such a number of tickets were sold as to accom-
modate the auditory with seats and printed bills^ containing "particulars"
i. e. programs, were given with the tickets, a common-sense custom to which
we Americans fortunately still adhere.

The only other benefit concert of the year was ventured upon by Henry
Capron who just then expressed his desire to settle in New York as teacher
of singing, pianoforte, violin and guitar i). The admission to his concert,
announced for Oct. 23d2)^ was strictly limited to advance-subscribers, a
clause very seldom attached to announcements of benefit concerts. Capron
presented this "plan" at the City Tavern:

Act I

Grand Overture iStamitz

Song

Concerto Violoncello .. .. Mr. Capron

Act II
Sonata, Piano Forte .. .. Mr. Reinagle
Song
Quartet, Flute

Act III

Solo, Violin Reinagle

Song

Overture Haydn

In the following year, so memorable in our country's history, a Mrs.
Sewell solicited the kind patronage of the pubUc for a concert to be held
on Oct. 31st^) but no further details were mentioned. Her methods evi-
dently differed widely from those of Mr. P. A. Van Hagen who not only
inserted the full program of his benefit at the City Assembly, Dec. 1, 1789*)
but also remarked that he sold all sorts of instruments and that he would
teach at "6 dollars a month (or 12 lessons) and one pound entrance" any
of the following instruments: viohn, harpsichord, tenor, violoncello, German
flute, hautboy, clarinet, bassoon — and singing. A versatility which would
have made a German Stadtpfeifer blush with envy! And to all these ac-
compHshments Mr. Van Hagen seems to have added on said occasion an
exhibition of the latent musicability of iron nails!

1) Daily Advertiser, Nov. 5, 1788.

2) Daily Advertiser, Oct. 23, 1788.

3) Daily Advertiser, Oct. 28, 1789.

4) Daily Advertiser, Nov. 20, 1789.

227

Act I

Symphony of Pleyel

Concerto on the Viohn Mr. Van Hagen

Song Mr. Van Hagen, junior

(eight years of age)

Quartetto of Pleyel

Concerto on the Tenor Mr. Van Hagen

Concerto on the Piano Forte Mr. Van Hagen, jun.

Act II

Concerto on the Violin Mi'. Van Hagen

Trio, Piano Forte

Song Duet Messrs. Frobel and Van Hagen

Solo upon iron nails, called Violin Harmonika (never performed)
Symphony De Chasse, Finale C. Stamitz

In the following year 1790, a troupe of Frenchmen, presumably political
refugees, invaded New York and gave the city a first taste of French operas in
French, the tender root out of which, with all due respect for the arguments
occasionally advanced in favor of the system, the polyglot understanding
powers of the New Yorkers in opera gradually grew within a century into a
monstrous cactus. The troupe was headed by Mr. St. Aivre, singer and
dancing master, we may argue, more from necessity than inclination. The
operatic performances were preceded on Sept. 10th i) by a concert at the
City Tavern for which the assistance of the Van Hagens, Henri Capron and
John Christopher Moller had been gained. This rather miscellaneous pro-
gram was presented:

Act I

1. The Overture from the Deserter^)

2. Song — 'Alas! I sigh' by Mr. St. Aivi'e

3. Solo Violoncello, by Mr. Capron

4. Song 'To the sounds of the drums' by Mr. Gammas

5. Trio 'Sweet hope', by Madame and M. St. Aivre and M. Cammas

6. Symphony

7. Quartetto, by M. Van Hagen and son

8. Cantus from 'The Fair Arsenia'3) by Madame and M. St. Aivre and ^I. Cammas.

Act II

1. The Overture, from the Fair Arsenia

2. Song 'I dare to meet the strokes of fate', by M. Cammas

3. Sonata on the Harpsichord, by Mr. Moller

4. Duetto 'In the bosom of a father', by M. and Madame St. Aivre

5. Concerto Violoncello, by M. Van Hagen, sen.

6. Trio from 'Felix'*), by M. and Madame St. Aivre and M. Cammas

7. Duett 'Yes! I must go to-morrow morn' by M. St. Ai^Te and M. Cammas

8. The Overture of Henry IV or the Battle of Ivry^)
After the Concert will be a grand Ball.

1) Daily Advertiser, Sept. 4, 1790.

2) ]\Ionsigny.

3) Monsigny.

4) Monsigny.

5) Martini.

15=*

— 228 —

On the program for Dec. 1^ 1789 young Van Hagen's age had been given
as eight years. This his father either had forgotten or, as it sometimes
happens to fathers of prodigies, he really did not remember the exact age
of his precocious son when he announced in a style, not unworthy of Leo-
pold Mozart, to subscribers and non-subscribers a benefit concert' for "P. A.
Van Hagen, jun. only nine years of age" for Feb. 21, 1791 with the following
somewhat vague "order of the music":

Act I
Symphony, just received from Europe per the Eliza, Capt. Armour [!]
Concert on the Harpsichord, of Giordani, by Mr. Van Hagen, jun.
Song of FeUxS); by Mr. Gammas
Concert on the VioUn, by IVIr. Van Hagen, jun.
Symphonic Concertante, of Davau, by Mr. Van Hagen and Son
Song Duet of Gretry, by M. and Mrs. St. Aivre
Concert on the Harpsichord, by Mr. Van Hagen
Concert on the Violin, by do.

Act II
A new Symphony, never before performed
Song of FeUx, by Mr. St. Aivre
Concerto on the Tenor, by IMr. Van Hagen, jun.
Song, in the Enghsh language, by Mr. St. Aivre
Air on the Violin, by Mr. Van Hagen
Favorite Overture de Blaise et Babet^)

A few days preceding this concert, on Feb. 12th, Mr. KuUin, pianist,
acquainted the public of his intention to give a benefit concert with the
asisstance ofMr. Capron and Mrs. Haye, "lately from Paris. . . whose voice he
had every reason to hope [would] be considered as a great acquisition to his
concert". And as his subscription had already been honored with a number
of the most respectable names he had further reason to flatter himself —
he said — with such success as would enable him to procure a first rate
violin performer from Philadelphia or elsewhere*). In this he was disap-
pointed for when he finally fixed the date of the concert for March 7th^)
the name of no violin performer from Philadelphia or elsewhere appeared
on the program. As a kind of substitute, however, Mr. Kullin hastened
to remark that he would "perform on a Grand Concert Pianoforte, entirely
of a new invention and just finished by Messrs. Dodds and Claus, of this
city', certainly one of the very first instances of the custom to advertise
the 'piano used:

1) Daily Advertiser, Feb. 15, 1791.

2) Monsigny.

3) Dezede.""

4) Daily Advertiser, Feb. 25, 1791.

5) Daily Advertiser, March 4, 1791.

— 229 —

Act I
Symphony Pleyel

Song, by Mrs. Haye

Sonata for the Forte Piano, with accompaniments for

the viohn, by Messrs. Kulhn and Van Hagen .. Sacchini

Quartetto Plyel

A Four hand piece on the Piano Forte, by Messrs.

Kulhn and Van Hagen
Solo for the Violoncello, by Mr. Capron
Symphony

Act II
Symphony
Duo for the Tenor and violin, by Mr. Van Hagen

and Son
Air with variations for the Pianoforte and violoncello
A Song by Mrs. Haye

Concerto for the Violin, by Mr. Van Hagen
Concerto for the Pianoforte, by Mr. Kullin

Finally, on June 27, 17911) Mr. and Mrs. Solomon, "vocal performers

from the Southward, having performed the Summer's Evening Brush in

South Carolina, Georgia, Virginia and Boston" gave a similar entertainment

at the City Assembly Room

"consisting of recent and fashionable songs and duetts, interspersed with the
recitation of several pieces, prosaic and in verse, from the most celebrated authors
and the songs connected with them."

By March 30, 1792 P. A. Van Hagen, jun. had become "ten years of

age" and he respectfully informed the public through the Daily Advertiser

that he had opened the subscription for his benefit this season on April 17th

and on the day of performance he added to the program "with the assistance

of Mr. Capron and Mr. SaUment". The "order of the concert" — another

of those circumscriptive terms instead of which the simple word program

had not yet made its appearance whereas the term "act" for part has now

been relegated to vaudeville — reads:

Act I
Overture by Pichl, performed at the crowning of the

Emperor Leopold lid.
Concert on the Harpsichord

Concert on the violin, by P. A. Van Hagen, jun.
Song, by do.
Rondo .. .. Pleyel

Act II
Concerto on the Tenor, by P. A. Van Hagen, jun.
Song, ditto.
Concerto on the Violin, by Mr. P. A. Van Hagen

Overture of the Two Savoyards^)

1) Daily Advertiser, June 27, 1791.

2) Dalayrac.

— 230 —

A few months later, as will be remembered, New York's musical life
received a stimulus by tlie arrival of "Messrs. Hewitt, Gehot, Bergman,
Young and Phillips, professors of music from the Opera house, Hanover-
square and Professional Concerts under the direction of Ha^/dn, Pleyel, etc.
London" 1). We can well imagine how the curiosity of the concert-goers
was aroused by the program of their first concert on American soil, a pro-
gram which seems to have thrown the first dangerous bomb of program music
into our musical Hfe. Possibly James Hewitt never witnessed a battle —
ample excuse for putting one into an overture — but Jean Gehot had just
ended his voyage from England to America — ample reason for recording
it in a sort of musical diary — and if he possessed at all the trick for writing
suggestive, imitative, programmatic, symbolical music, his overture in
twelve movements must have been an entertaining bit of autobiography.
That it met with public approval is certain. Not so much because such
self-evident music generally pleases but because it otherwise would not have
been repeated at the subscription concerts. Another innovation was this
that the Messrs. Hewitt, etc. faithfully inserted in their program the "com-
poser's names". They "humbly hoped to experience the kind patronage of
the ladies and gentlemen, and public in general" on Sept. 21, 1792 at Corre's
Hotel \vith this really interesting program^):

Act I

Composers' names

Overture Haydn

Quartetto Pleyel

Symphony C. Stamitz

Concerto Violoncello, Mr. Philips Philips

Overture in 9 movements, expressive of a battle, etc. .. Hewitt

No. 1. Introduction.

2. Grand mai'ch; the army in motion

3. The Charge for the attack

4. A National Air

5. The Attack commences in which the confusion
of an engagement is heard

6. The Enemy surrender

7. The Grief of those who are made prisoners

8. The Conqueror's quickmarch

9. The Finale.

Act II

Concerto Violin, Mr. Hewitt Hewitt

Flute Quartetto, j\Ir. Young C. Stamitz

Overture, in 12 movements, expressive of a voyage from Gehot.

England to America

No. 1. Introduction

1) Daily Advertiser, Sept. 20, 1792.

2) Daily Advertiser, Sept. 20, 1792.

— 231 —

2. Meeting of the adventurers, consultation and
their determination on departure

3. March from London to Gravesend

4. Affectionate separation from their friends

5. Going on board, and pleasure at recollecting
the encouragement they hope to meet with in a
land where merit is sure to gain reward

6. Preparation for sailing, carpenter's hammer-
ing, crowing of the cock, weighing anchor etc.

7. A Storm

8. A Calm

9. Dance on deck by the passengers

10. Universal joy on seeing land

11. Thanksgiving for safe arrival

12. Finale

The Concert to begin at half past seven. After which will be a Ball, conducted
by Mr. Philips, who for several seasons conducted the Pantheon and City Balls, and
will, on that evening, introduce some new English dances, which, if the ladies and gentle-
men request, will be performed by the concert band.

Almost entirely a Van Hagen family affair was the last benefit concert,

of 1792, on Dec. 2di) as the jneces de resistance lay in the hands and throats

of Mr. Van Hagen, Master Van Hagen, Miss Van Hagen ''ahout 13 years old"

and Mrs. Van Hagen:

First Part

Overture of Pleyel

Violin Concerto P. A. van Hagen, jun.

Song Duetto by Miss and Master Van Hagen

Flute Concerto Mr. SaUment

Forte Piano Sonata Mrs. Van Hagen

Second Part

Tenor Concerto Mr. Van Hagen

Song Trio by Mrs., Miss and Master Van Hagen

Forte Piano Concerto Mrs. Van Hagen

Finale of Pleyel

Of the Van Hagen family, Mrs. Van Hagen in a way was the most inter-
esting member and it is perhaps worth while to quote here what she had
to say in her behalf in the Daily Advertiser, Nov. 8, 1792 :

Mrs. Van Hagen, lately from Amsterdam respectfully informs the ladies of this
city that she intends to teach the theory and practice of music on the harpsichord
and Piano Forte with thoroughbass, if desired ; also, the principles of vocal music and
singing according to the most approved method and the present taste in Europe.

As she has been for several years organist in the churches at Namur, Middleburg,
Vhssingen and Bergen op den zoom, she also teaches on that instrument, as well church
music, as lessons, sonatas, concertos, etc.

Mrs. Van Hagen hopes from her theoretic knowledge and successful experience
in the science of music, to be as fortunate in the progress of her pupils in this city, as
she has been in some of the first families in Holland.

1) Daily Advertiser, Nov. 3, 1792.

2) Daily Advertiser, Jan. 13, 1793.

— 232 —

As motives of delicacy may induce parents to commit the tuition of young ladies
in this branch of education to one of their own sex, and the female voice from its being
in unison, is better adapted to teach them singing than that of the other sex, which
is an octave below, she flatters herself that she shall be indulged with their approbation
and the protection of a respectable public.

The following year, 1793, brought a Mrs. Armory the distinction of
having introduced in our country on Jan. 23 "between the hours of 6 and
8 o'clock", "in the Fields" the "'Harmonia Celesta, this excellent and ad-
mired instrument blended in sound between the grandeur of the organ and
the ravishing softness of the heart thrilling lute". Though not strictly a
concert, the presentation of Select Extracts from the most eminent authors
recited by particular request by Mrs. Melmoth "from the Theatres Koyal of
London and Dublin" on April 9th at the City Assembly Roomi) call for
attention here as Mrs. Melmoth in order to enhance the entertainment pro-
cured a band of music under James Hewitt for the opening and closing
members of each part of the program. This program undoubtedly would
be attractive even to-day if her part was taken by an actress of her calibre
and though Hewitt's band probably locked the finish of our modern orchestras
it was still in touch with the true tradition of rendering eighteenth century
music, nowadays lost to all except very few conductors:

Part the First
Overture Haydn

Exordium

Antony's Soliloquy over the body of Caesar .. .. Shakespeare

Celadon and AmeUa Thomson

Scene from the tragedy of Macbeth Shakespeare

Quartette Girovets

Part the Second

Sinfonie Stamitz

Satan's Soliloquy to the Sun Milton

Eve's dream ibid.

The Story of Maria Sterne

Concerto Violin Mr. Hewitt

Part the third

Sinfonie Vanhall

Scene from Julius Caesar, in which

Cassius excites Brutus to oppose Shakespeare

Caesar's power Mr. Barbauld

Pity, an allegory

Collin's Ode to the Passions

The other benefit concerts of the year, as far as I found them, were all
crowded into the month of June. On the eleventh 2), Mrs. Pownall appeared

1) Daily Advertiser, March 26, 1773.

2) Daily Advertiser, June 8, 1793.

— 233 —

at the City Theatre both as singer and composer with this miscellaneous
program :

Act 1st

New Overture Vanhall

Song 'Sweet Echo' accompanied on the flute by Mr.

Saliment Mrs. Pownall

Quartetto Flute, Messrs. Saliment, Hewitt, etc Hoffmeister

Song 'Whither my love' Mrs. Hodgkinson

Concerto Violin Mr. Hewitt

Glee 'Hark the lark at Heaven's gate sings' .. .. Mrs. Pownall
Mr. West, Mr. Prigmore, Mr. Robins, and Mrs.

Hodgkinson.
Catch 'They say there is Echo here', as performed

with great applause in Vauxhall Gardens, London, Mrs. Hodgkinson,

Mrs. West, Mr. Prigmore, IMr. Robins,
and echoed by Mrs. PownaU

Act 2 d.

Sinfonie Pleyel

Song (by desire) 'Tally ho' Mrs. Pownall

Concerto Flute Mi-. Saliment

Song 'Soldier tir'd' ]Mrs. Hodgkinson

New Overture Haydn

Glee 'Adieu to the village delights' INIrs. Pownall

]VIr. Prigmore, IVIr. West and Mr. Robins
To conclude with the comic dialogue of Jamie and

Susan Mrs. PowTiall and

Mr. Prigmore.

To reciprocate^ Mrs. Pownall assisted with readings and songs at the
benefit concert of Hewitt and Saliment on June 18th at the City Tavern.
The announcement in the Daily Advertiser of June 14th was headed "last
concert this season" but, of course, it did not properly belong to Hewitt
and Saliment's series of subscription concerts. The second act of the concert
was opened with Hewitt's Battle Overture and the entertainment began
at half past seven, an hour gradually gaining in favor over seven o'clock:

Act I

Sinfonie Pleyel

Song Mrs. Hodgkinson

Quartetto Flute Mezger

New Song Mrs. Pownall

Concerto Violin Mr. Hewitt

The act will conclude with a recitation from the

tragedy of Zara, by jMrs. PoA\'nall

Act 2.
Battle Overture, in which will be introduced the Duke

of Yorks' celebrated march Hewitt

Song, ]VIi-s. Hodgkinson, last time this season

Concerto Flute Mi'. Saliment

Hunting song, last time this season Mrs. Pownall

Finale Haydn

— 234 —

After which Mrs. Pownall will read the story of Old Edwards taken from the Man
of FeeHngs in which will be introduced a song taken from the
poem of Lavinia, and composed by her.

Finally, Mrs. Hodgkinson was to give an entertainment on June 17th at
the City Tavern which consisted mainly of select readings and songs. The
only instrumental numbers announced were a violin concerto played by
Mr. Van Hagen and a concerto played on the "grand Piano Forte" by a Mr.
Smith. However, Mrs. Hodgkinson's personal attendance was rendered im-
possible by her safe delivery of a daughter on June 16th and therefore Mr.
Hodgkinson saw himself under the necessity of substituting for the two
songs advertised to be sung by his wife his own new song of "Bow Wow"
and a favorite one by Dibdin, "never sung here" called 'None so pretty'
which he hoped the emergency of the occasion would render acceptable.
In this he certainly was not disappointed and it would be interesting to
know how much of the applause usually showered on him on this occasion
went to John Hodgkinson, Pafti instead of to John Hodgkinson, the vocalist.

The year 1794 was ushered in by two benefits for Madame De Seze on
Jan, 14th and Jan. 28th i). As might be expected the programs are decidedly
French in character and the second is rendered especially interesting because
it gave to New Yorkers an occasion to form an acquaintance with the style
of Mehul.

Unless previous operatic ventures or other private affairs had plunged

Mr. and Mrs. De Seze into debt, if may be surmised that the concerts were

financially disastrous as Mr. Hauterive, the French consul, saw himself

obUged to sell at auction on Feb. 11th their trunks and instruments 2). This

step poor De Seze considered unwarranted and he hoped that "no good

feeling man" would bid on his things. The programs of the two concerts

read:

JAN. U, 1794
Act I

Symphony Hayden

Song Madame De Seze

Sonata Piano Forte, accompanied by Messrs.
Hewitt and De Seze [!]

Song Mrs. Pownall

Pleyel's celebrated Concertante for violins,

tenor, clarinett and violoncello, by Messrs. Hewitt, Du Camp, Woolfe

and Capron
Act II

Sonata Harp Mad. De Seze

Song accompanied on the harp Mad. De Seze

Trio for the flute Mr. Saliment

Song, accompanied on the Piano Forte .. .. Mad. Deseze

1) Daily Advertiser, Jan. 13 and Jan. 28, 1794.

2) American Minerva, Feb. 10, 1794.

— 235 —

Quartetto Cambini Messrs. Hewitt. Bergman,

Du Camp and Capron

Favorite Airs on the harp Mad. De Seze

Finale Rossetti

JAN. 28, 1794
Act I

Simphony Haydn

Song, on the Piano Forte, 'Dieu ! Mad. De Seze

Ce n'est pas pour moi, etc.'

Concerto on the Piano Forte Mad. de Seze

Song Mrs. Pownall

Concertante Hewitt, Saliment, Capron, etc.

Act II

Sonata on the Harp Mad. De Seze

Song of the opera of Atysi), on the harp .. Mad. De Seze

Quartett of Pleyel, by Messrs. Hewitt, Bergman,

Du Camp and Capron
The most celebrated song in the beautiful

French opera of Euphrosine^), beginning

with these words 'Quand le guerrier vole

au combat' on the Piano Forte by .. .. Mad. de Seze
The pretty French potpourri, on the harp, with

many favorite airs Mad. De Seze

Finale Haydn

These two concerts were followed in rapid succession by several others.

First by Mrs. Pownall's benefit at the City Tavern on Feb. 6th3) with this

program :

Act 1 St.
Duett, 'Fair Aurora' from the opera of Arta-

xerxes*) Mrs. Pownall and Mr. Bergman

Quartetto, Messrs. Hewitt, Bergmann, Ducamp

and Capron Pleyel

Song 'On the rapid whirl wind's wing' .. .. Mrs. Pownall

Concerto Horn Mr. Pehpier [Pelissier]

Song, accompanied on the harp Madame Desone [Deseze?]

Concerto on the grand Piano Forte Mr. Rausche

Song the Lovely lad of the lowlands Mrs. Pownall

Sinfonie Pleyel

Act II

Concerto, Violin Mr. Hewitt

Song 'Love thou tcazing pleasing pain' .. .. Mrs. Pownall

Quartetto, Flute Messrs. Saliment, Hewitt,' Du-
camp and Capron ^

Song 'Tally Ho' Mrs. Pownall 1^^

Duett Messrs. Hewitt and Capron

'Ma Chere amie', harmonized for three voices Mrs. Pownall, ^Ir. Capron and

Bergmann
Full piece

1) Piccinni.

2) Euphrosine et Corradin by Mehul.

3) Daily Advertiser, Jan. 31, 1794.

4) Arne.

— 236 —

Then Henri Capron presented this program on Feb. 26th i).

Act 1 St.

Grand Overture 'La Reine' by ]Mr. Haydn

Song by INIi's. Pownall

Concerto Violoncello IVIi-. Capron

Song, accompanied with the Piano Forte .. Mad. De Seze

Concerto on the Flute Mr. Saliment

Act II

Concerto on the Piano Forte Mrs. De Seze

A Hunting song by Mrs. Po\vTiall

Concerto Violin Mr. Hewitt

Song on the harp Mad. De Seze

A Duet sung by Mad. De Seze and Mr. Capron Gretri

Finale ]Mr. Haycki.

This concert had been preceded on Feb. 20th by Mrs. Hodgkinson's
"concert and ball"^) with the "kind" assistance of Mrs. Melmoth, an ad-
jective then probably more than now implying a bona fide act of unselfish
professional courtesy :

Act 1st.

Grand Overture by Stamitz

Song (by desire) 'Sweet Echo' Mrs. Hodgkinson

Concerto Violin Master Van Hagen

Song 'The Hardy sailor' Mrs. Melmoth

Quintetto, Mr. and Master Van Hagen,

Mr. Du Camp, etc.

Duett 'Adieu Poor Jack' Mr. and Mrs. Hodgkinson

Sonata, Piano Forte Mrs. Van Hagen

Act 2d.

Song 'Sweet lillies of the valley' .. .. IVIrs. Hodgkinson

Concerto Violin Mr. Van Hagen

Song 'Disdainful you fly me' Mrs. Melmoth

Concerto Piano Forte ]\Irs. Van Hagen

Song 'Amid a thousand sighing swains' Mrs. Hodgkinson
Duett 'Time has not thinn'd my flowing

hair' Mr. and Mrs. Hodgkinson

Finale De Zaides [Dezede]

Hewitt's Battle Overture was again in prominence at the benefit concert

of his partner in the Subscription Concerts venture, Mr. Saliment, on
March 11th at the City Tavern^):

Act 1st.

Battle Overture, Composed by ]\Ir. Hewitt

Song Mrs. Pownall

Sonata Piano Forte Madame De Seze

Solo Violin Mr. Hewitt

1) Daily Advertiser, Feb. 15, 1794.

2) Daily Advertiser, Feb. 13, 1794. As a rule "and ball" was not longer added
in the announcements but the instances were exceedingly few in those days when con-
certs were not followed by balls, usually conducted in New York bv Mr. Hulett.

3) Daily Advertiser, March 3, 1794.

— 237 —

Act II

Concerto Flute Mr. Saliment

Duett for 2 voices (by particular desire)

'Time has not thinned my flowing hair' Mrs. PoA\-nall and Mr. Bergmann

Solo Violoncello Mr. Capron

Song, accompanied on the harp .. .. Mad. De Seze

Finale Haydn

The announcements of all these concerts were simple in style but when

P. A. A^an Hagen, junior again was to appear on the concert stage at Corre's

Hotel on March 25th before subscribers only including "a Miss or Master

under 14 years" at 5 shillings, he or rather his father indulged in this amusing

advance notice in the Daily Advertiser, March -Ith;

To render this entertainment as j^leasing as possible, a selection will be made
of new music and such as has received the repeated applause of the present refined
taste in Europe, in addition to Mr. Mrs. and Master Van Hagen's best exertions to
please, the brilliant vocal powers of Mrs. Hodgkinson are promised; Mrs. Melmoth
has also obligingly consented to give two favourite songs, her mellifluous voice, correct
style and pleasing taste in singing, which at a late pubUc concert surprised the aucUeuce
with delight, want no commendation to those who were present.

His program — it must be admitted that our prodigy modestly kept
in the background — reads i):

Act I

Overture Henry 4th and Entre Act .. Martini

Song of Nina Mrs. Melmoth

Concerto on the Violin Master Van Hagen

Song 'Sweet lillies of the valley' .. .. 3Irs. Hodgkinson

Sonata Grand Piano Forte Mrs. Van Hagen

Act II

Overture of Pleyel

Song 'The Highland laddie' Mrs. Melmoth

Concerto on the Violin Mr. Van Hagen

Song 'Sympathetic Echo', accompanied

by the Clarinet Mr. Hodgkinson

Concerto Grand Piano Forte ]\Irs. Van Hagen

Duett 'Cher object', Miss and Master Van Hagen

Concerto (by particular desire) on the
Carillion, or Musical Glasses. Com-
posed by Mr. Van Hagen

Finale by Ditto

If James He^vitt's program of Sept., 1792 furnished ample proof of
his sympathies with programmatic music, the concert he gave on April 1,
17942) — a rather ominous day — strengthens this impression. In his
'Voyage from England to America' he had paid but slight attention to the
disagreeable qualities of Oceanos. This gap he now filled in with his 'New
Overture, to conclude with the representation of a storm at sea'. The other

1) Daily Advertiser, ^larch 21, 1794.

2) Daily Advertiser, March 21, 1794.

— 238 —

programmatic pillar of the program was the finale, Haydn's "celebrated
Earthquake", from the "Seven Words':

Act I
New Overture, to conclude with the re-
presentation of a storm at sea, com-
posed by Mr. J. Hewitt

Song, (by particular desire) 'Poll of Ply-
mouth' Mrs. Pownall

Quartetto, for 2 violins, tenor and base[ !] by Messrs. Hewitt. Bergman,

Pellier and Capron

Song, accompanied on the harj), Madame De Seze

Concerto Flute Mr. Saliment

A Glee and a catch, by ilrs. Pownall, Messrs. Bergmann, King and Robins.

Act II

Concerto Clarinet Mr. Wolfe

Song Mrs. Pownall

Sonata Piano Forte Madame De Seze

A Glee and catch, by Mrs. Pownall, Messrs. Bergman,

King and Robins

Finale, the celebrated Earthquarke .. .. Haydn

In the meantime Mr. De Seze had opened a French school for young
ladies from ten to sixteen years of age and correspondingly a French school
for young gentlemen. Also Madame De Seze appears to have renounced
temporarily the laurels of the concert stage for she gave a "last" concert
on April 8th i) at the City Tavern with this program:

Act I

Symphony Haydn

Song on the harp Mad. De Seze

Concerto on the Piano Forte Mad. De Seze

Song Mrs. Pownall

Quartetto on the flute Mr.Saliment, Hewitt. Caj^ronetc.

Act II
Sonata on the harp, accompanied by .. .. Messrs. Hewitt and De Seze
An English song on the harp 'A Lovely

rose', composed by Mr. Capron and Mad. De Seze

The celebrated song 'Comme un', of the

French opera, called 'Eclair, la fausse

magie'^) on the Piano Forte .. .. Mad. De Seze

Concerto on the violin Mr. Hewitt

French Duet for two voices 'Dans le sein

d'un pere' Mad. De Seze and Mr. Capron

After wich Mad. De Seze will sing an EngUsh song, to thank the

pubhc of their kindness, this song is on the tune, 'Ah ! no, no,

no' accompanied on the Piano Forte.
Finale Havdn

1) Daily Advertiser, April 2. 1794.

2) Gretry.

— 239 —

With Mrs. Pownall's selection of the Belvedere House for her benefit
concert on Sept. 4th, previous to her departure to Philadelphia, we possibly
have the first instance of benefit concerts given in the open, for though the
entertainment was to be held in the ball room in case of inclement weather,
the plan was to permit, if possible, the company to hear the music on the
bowling green where an "occasional orchestra" had been erected "on the
balcony, in the manner of Vauxhall gardens" i). Also the program was clearly
modelled after those heard at Vauxhall in London with its happy blending
of popular and heavy classic music:

Act I

Overture by Haydn

Irish song 'Pat of Killai'ney' by .. .. Mrs. Pownall

Sinfonia Pleyel

Song 'Advice to the ladies of America'

composed and to be sung by .. .. Mrs. Pownall

Sinfonie Hoffmeister

Rondeau 'My bonny Joe is gone to sea', by Mrs. Pownall

Quatuor, Pleyel Messrs. Hewitt and De Pelher

Act II

Concerto Flute Mr. Saliment

'A Soldier for me' by Mrs. Pownall

Concerto Horn Mons. Pelissier

A Cantata called 'The Happy rencontre,

or, Second thoughts are best' by .. Mrs. Pownall

Sinfonie Abel

'Tally ho' by Mrs. Pownall

Full piece.

Mrs. Pownall's al fresco benefit was not to remain the last of its kind.
Indeed, as soon as about 1798 the center of gravity had shifted from the
winter to the summer, it was only logical that the prominent musicians
would frequently prefer the summer to the winter for their benefits, the
more so as this was the dead season in the activity of the musical societies
which latter may reasonably be held responsible for the decreasing — certainly
not in creasing — number of benefit concerts given in those years during
the winter. On the whole it might be said that in this direction the concert
life of New York came to a standstill instead of progressing lustily. For
instance, the year 1795 cannot have seen many more than the three benefit
concerts I traced in the Daily Advertiser. The first was given by Mrs.
Van Hagen at the New Assembly Room on April IGth^) at which Benjamin
Carr, so much better known as composer, organist, publisher, appeared as
vocalist :

1) Daily Advertiser, Sept. 3, 1794.

— 240 —

Act I

Grand Symphony Pleyel

Song Mr. Carr

Sonata Piano Forte Mrs. Van Hagen

Song Mrs. Hodgkinson

Concerto on the Tenor IVIr. Van Hagen

Act II

Concerto Piano Forte Mrs. Van Hagen

Song Mr. Carr

Concerto VioUn Mr. Van Hagen, jun.

Song Mrs. Hodgkinson

Overture, Blaise et Babette Dezaldes [Dezede]

The two other concerts were given by the Dioscures Hewitt and Saliment
and it is the program of the first, on June 11th, which furnished the clue
to the year of foundation of the Columbian Anacreontic Society and also
gave occasion to suspect James Hewitt guilty of the first piece of melo-
dramatic music written in America, (now called 'Song recitations'), with
his setting to Collin's Ode on the passions. The other concert, their "annual
concert and ball", on December 29th, presented but the usual juxtaposition
of orchestral and chamber-music, then, however, from the entirely different
number of instruments employed in considerably smaller localities for more
intime music, vastly less objectionable than it would be or is to-day. Here
are the programs:

JUNE 11, 1795

Act I

Overture . . . The Battle of Prague, adap-
ted for a full band, by J. C. Schecky [Schetky]

Song Mr. Carr

Concerto Flute Mr. Saliment

Song Mr. Hodgkinson

Glee 'Hark the lark' Mr. Cook

Concerto Piano Forte Mrs. Van Hagen

Act II

Double Concerto for Flute and Violin .. .. Messrs. Saliment and Hewitt

Song Mrs. Melmoth, who has

kindly offered for that night to sing
the song from the opera Artaxerxes
[Arne] 'Disdainful you fly me'.

Concerto Violin Mr. Hewitt

Song Mr. Carr

Glee 'Hope' Mr. Hewitt

Collin's Ode on the Passions, to be spoken by Mr. Hodgkinson. With
music representative of each passion, as performed at the Ana-
creontic Society, composed by J. Hewitt.

— 241 ~

DEC. 29, 1795
Act I

Symphony : Pleyel

Song IVIr. Carr

Quartetto Flute Messrs. Saliment, Hewitt, etc.

French Ariette, accompanied on the Piano
Forte, by a lady who has kindly offered
her assistance for that night only
Overture Van Hall

Act II

Concertante for Violin and flute Messrs. Hewitt and Saliment

Song Mrs. Melmoth

Sonata Piano Forte Mr. Carr

French Ariette, accompanied on the harp,

by a lady.
Finale Haydn

For the year 1796 I have traced only two benefit concerts and for 1797
none. I trust that local historians will be more fortunate in completing the
record though I doubt that the historical aspect will be changed very much.
The program of the benefit for the very popular operatic star Miss Broad-
hurst on Nov. 15th 1) at the Assembly Room was this, leaving it open to con-
jecture whether the Battle Overture performed was that by James Hewitt:

Act I

• Sinfonie Pleyel

Song 'The Waving willow' Miss Broadhurst

Concerto Piano Forte Mr. Moller

Song 'The Cottage of the grove' .. .. Mr. Tyler

Concertante for flute and \aolin . . . . Messrs. Saliment and Hewitt

Bravoura Song IVIiss Broadhurst

Act II.
Battle Overture

Song 'O come, sweet Mary, come to me', Mr. Tyler, IVIiss Broadhurst[ !]

Concerto Flute Mr. Saliment

Song 'The Cheering rosary' Miss Broadhurst

Glee Miss Broadhurst, Messrs. Tyler,

Johnson and Lee

Finale Haydn

On Dec. 6th 2) Mr. Moller, the manager of the Old City Concert, offered
at the same place for his benefit in

Act I

Overture Pleyel

Song Miss Broadhurst

Concerto Violin Mr. Nicolai

Song Miss Broadhurst

Duetto Grand Piano Forte Mr. and Mrs. Moller

1) Minerva, Nov. 11, 1706.

2) Minerva, Nov. 30 and Dec. 2, 1796. It was fii'st announced for Dec. 8th but
the date was changed to Dec. 6th "on account of the City Assembly".

Sonne ck, Early Concert Life' 16

— 242 —

Act II

Concerto Piano Forte Miss Moller

Duett Miss Broadliurst and Mr. Tyler

Concerto Clarinet Mr. Hemy

Bravoura Song Miss Broadhurst

Finale Pleyel

The first benefit concert of 1798 — those of 1797 must have escaped
me — was given by Filippo Trisobio on Jan. 12th. The announcement was
characteristic of this gentleman who died, as we know, in the same year at
Philadelphia. Said he in the Daily Advertiser, January 8tli:

A GRAND CONCERT.

Signor Tri.sobio, from Italy, professor of vocal music, established in Philadelphia,
being a passenger in this city for a few days, has the honor to announce to the public,
a Concert for Friday Evening the 12th inst. Also, that he has engaged Miss Broadhurst,
with whom he will sing some Italian duettos of the first composition. He will sing in
English, French and Italian. The band will be directed by ]\Ir. Collet at the Tontine
City Tavern

Signor Trisobio hopes to experience the same genei'ous indvilgence as he has re-
ceived in several cities of this continent.

§§§ A numerous collection of Italian songs of the best composers may be had of
Signor Trisobio, price three dollars.

The concert given on July 24, 1798 at the New City Tavern, Broadway
byMr. Lee 1) with Messrs. Tyler, Jefferson, Miss Broadhurst, Mrs. Seymour, etc.
as principal vocahsts, "accompanyments by Messrs. Hewitt, Everdell, etc."
was to conclude with "Hail Columbia, by Mr. Tyler and full chorus".
This is also the only item worth recording of Mr. Lee's benefit concert at
Columbia Garden on July 28th2). What a hold Joseph Hopkinson's hastily
written lines, set to the 'President's March' — the memory of his father's
'Temple of Minerva' and other patriotic songs haunting his mind — was
speedily gaining on the pubhc may be inferred from the fact that also Mr.
Adde's "grand" benefit at Columbia Garden on Sept. 4th3) concluded with
this our first really national hymn:

Act 1st.

Sinfonia Hyden

Song Mrs. Seymour

Concerto on the Horn Mr. Libeschisky

Song Mrs. Seymour

Sinfonia C4erowetz

Act 2d.

Concerto on the Violin Mr. Nicholas

Song Mrs. Seymour

Sinfonia Hayden

1) Dailv Advertiser, July 23, 1798.

2) Daily Advertiser, July 28, 1798.

3) New York Gazette, Aug. 31, 1798.

— 243 —

Concerto on the Clarinet Mi*. Henry

The whole to be concluded with Hail Columbia, by ]Mrs. Seymour
*** Tickets at 4 s, to be had of Mr. Gilfert, Broadway, will
entitle the bearer to a glass of Ice cream or punch.

In the meantime, owing to Joseph. Corre's half diplomatic, half generous
willingness to supply his garden, not less than five benefit concerts had been
given at Columbia Garden and to these must be added one for the benefit
of Mr. Jefferson at Ranelagh Garden on Aug. 6thi). Certainly a corrobora-
tion of the theory advanced above with reference to the open-air benefit
concerts !

First Miss Broadhurst and Mr. T3der, who seems to have been a special
favorite with the public as singer of patriotic songs, gave their joint benefit
on Aug. 1st. Their program contained songs only, at least, songs only were
announced in the Daily Advertiser, July 31st. but it goes without saying
that the band and the virtuosos brought some variety into the entertain-
ment :

Part 1st.

Song 'The Negro boy' Mr. Tyler

Song 'Where's the harm of that' Mrs. Seymour

A favorite Comic Song Mr. Jefferson

Song 'Sweet echo' Miss BroadhiTrst

The mock Italian trio 'Ting, tang, ta' .. .. Mr. Tyler, Mrs.

Seymour and Miss Broadhurst

Part II

Song 'Comely Ned, that child at sea' .. .. Mr. Tyler

Song 'The Cherry girl' Mrs. Seymour

A favourite Comic Song Mr. Jefferson

Song 'Jemmy of the glen' Miss Broadhurst

Song 'Adams and Liberty' Mr. Tyler

Then came on August 7tli and again on Aug. 28th the band-master and

clarinetist Henry and the horn virtuoso Libeschesky with joint benefits,

mainly of instrumental music^) as the "arrangement of the music" shows:

Part I

Overture Henry 4th Martini

Song 'Too happy when Edward was kind' .. Miss Broadhurst

Solo, French horn Mr. Libeschesky

Song 'Tom Truelove's kneel" Mr. Tyler

Concerto Clarinet Mr. Henry

Allegro Pleyel

Part II.

Overture Demophon Vogel

Song 'Comely Ned that died at sea' .. .. Mr. Tyler

Concerto French Horn Mr. Libeschesky

Song 'Jemmy on the glen' Miss Broadhurst

Finale Haydn

1) Daily Advertiser, Aug. 4, 1798.

2) Daily Advertiser, Aug. (i and Aug. 27, 1798.

16*

— 244 —

AUGUST 28, 1798
Pakt I

Grand Sinfonia PaulWraswsky[Wranitzky]

Song Mrs. Seymour

Duet, Clarinet and French horn Messrs. Henry and

Libeschesky

Song Mr. Tyler

Concerto Clarinet Mr. Henry

Part II

Sinfonia Gerowet [Girowetz]

Song Mr. Tyler

Concerto French Horn, first time Mr. Libischisky

Song Mrs. Seymour

Finale Pleyel

The same two gentlemen were engaged by desire of several ladies and

gentlemen by a Mr. De La Mausse for bis benefit concert with full orchestra,

August 14, 17981) and finally Messrs. Pelissier and Hoffmann announced

that they would have their concert on Sept. 1st 2). Particulars were to be

expressed in the bills of the day but, unless they meant by bills programs

distributed at the concert, one would look in vain for these particulars in the

Daily Advertiser of Sept. 1st. Of Victor Pelissier, by the way, Dunlap

drew this pen picture in his History of the American Theatre (p. 207):

He was a short old gentleman, and so near-sighted as to be nearly blind. Always
cheerful, and his thoughts as fully occupied by notes as any banker or broker in
Wall Street.

Though not strictly a benefit concert, unless we choose to be facetious,
a "grand" concert may be mentioned here which was given on Nov. 26th
at the "Pantheon, formerly New-Circus ... in commemoration of the eva-
cuation of New York by the English"^). Strange to say no patriotic songs
appear on the program, only such ditties as 'The Country club' being men-
tioned. With its songs, a quartet, three symphonies and two overtures
besides the one to Arne's Artaxerxes and a "grand overture, double orchestra"
by the London Bach the program is one of the longest on record:

Act I

Grand Overture, double orchestra Back

Song 'The Sailor Boy' Mrs. Seymour

Song 'The Country Club' Mr. Jefferson

Sinfonie March

Song 'Let same sound the trvimpet' Mr. Tyler

Song 'Hope the balmy comfort send' .. .. Mrs. Seymour
Overture

Glee Mrs. Seymour, Messrs..

Tyler and Lee
Grand Sinfonie with kettle drums

1) Daily Advertiser, Aug. 13, 1798.

2) Daily Advertiser, Avigust 28, 1798.

3) Daily Advertiser, Nov. 26, 1798.

— 245 —

Act II
Overture

Song 'The Iviss' Sirs. Seymour

Song 'Mong, tong, paw' Mr. Jefferson

Quartette ]Mr. Everdell, Samo,

Nichola, Abel

Song ]Mr. Tyler

Sinfonie

Glee INIrs. Seymour, Messrs.

Tyler and Lee
[Overture to] Ai'taxerxes with kettle drums.
Afterwards a Ball, to be continued till two o'clock in the morning.

Merely mentioning Mr. Mitchell's "Music-Balls" at tlie Assembly Room
in 1799 1), Miss White's benefit concert on June 27, 17992), that of a Mr.
Perkins at Ranelagh Garden on July 9, 1799^) and Mr. Myler's cruelty —
not to animals — but to his own flesh and blood in presenting "to the lovers
of harmony" on Nov. 15, 1799 at Lovett's Hotel his musical children, these
"phenomena of musical abilities" being "a boy not seven years old" and
"his sister, an infant just turned of four years" I submit a program which
possibly has more interest for the historian of fire-works in our country
than of music.

Joseph Delacroix informed the public through the New York Gazette

of July 26, 1799 that on the same evening would be executed at Vaux Hall

Garden :

AN ELEGANT & BRILLIANT FIRE WORK.

Never displayed before on this Continent — yviih A Grand-Concert Vocal and
Instrumental. The music conducted by Mr. EverdeU and the singing by iNIr. Barett
and Mr. Jefferson.

Act I

Overture Haydn

Song 'Meg of Wapping' ]\Ir. Jefferson

Song 'Independent we will be' ]\Ir. Barett

Song 'The Village Recruit' Mr. Jefferson

Act II

1. The Arms of the United States in coloured fire- works, with a
horizontal sun

2. A Royal balloon with stars

3. A Brilliant wheel

4. Two Roman candles

5. A Horizontal wheel, with stars and report

6. A fixed Roman pyramid with an illuminated pedestal

7. A large Vestual wheel, forming a full body of coloured fire

8. Two Roman candles

9. Two Cohorn balloons ^Yith. report
10. A large Chinese fire wheel

1) N. Y. Gazette, April 25, 1799.

2) Daily Advertiser, June 24, 1799.

3) Daily Advertiser, July 9, 1799.

— 246 —

Act III

1. Song 'To arms Columbia' Mr. Barrett

2. Song 'The Country club' Mr, Jefferson

3. Song 'Adams and Liberty' Mr. Barrett

Act IV

[Fireworks]

The programs of the few benefit concerts given in 1800 may also follow
here. On Feb. 27th at Lovett's Hotel i) Messrs. Hewitt, Saliment, Henry
and C. H. Gilfert offered this really good program:

Act I

Overture, Lodoiska, composed by Kreutzer

Song Mr. Hodgkinson

Concerto, Pianoforte Mr. C. H. Gilfert

lately from Europe

Song Mrs. Hodgkinson

Duet, Flute and Tenor Messrs. Saliment,

and Hewitt, composed by J. Hewitt
Overture, Demophon, composed by Vogel

Act II

Concerto Clarinet Mr. Henry

Song Mrs. Hodgkinson

Concerto Flute Mr. Saliment

Song Mr. Hodgkinson

Overture d'Ephigene [sic] composed by .. .. Gluck

This was followed on March llth^) by Mr. Weldon's concert and ball
at the Tontine City Hotel with the folloAving "order of the music":

Act I
Sinfonie

Song, Mrs. Grattan 'Soldier tir'd'
Grand Duet for two performers on one Piano

Forte, Messrs. MoUer and Weldon
Violin Quartet, Messrs. Berault, Noel, Abel and Minere
Song, IVIrs. Grattan, Italian bra\Tara
Rondeau, Pleyel

Act 2d.
Concerto Piano Forte, Mr. Weldon
Song, Mrs. Hodgkinson
Concerto Clarinet, Mr. Berno
Song, Mrs. Hodgkinson
Overture, Lodoiska, Kreutzer.

Then came, the program not being mentioned, a benefit for Mrs. Grattan,
the lady manager of Philadelphia fame, on April 22d3) and on August 27th*)
a concert given by a Miss White at Vaux Hall Garden mth these selections :

1) Daily Advertiser, Feb. 21, 1800.

2) Daily Advertiser, March. 8, 1800.
.3) Daily Advertiser, April 21, 1800.
4) Daily Advertiser, Aug. 26, 1800.

— 247 —

Act I

Overture Pleyel

Song 'No, not yet' Miss White

Andante Arogart [Mozart ?]

Song The Unfortunate sailor' ^Ii'. Fox

^Nlinuetto Kotzehich

Song 'Come kiss me, said she' Mrs. Hodgkinson

Allegro Sterckel

Song 'Henry lov'd his Emma well' Miss Brett

Finale Stamitz

Act II

Sinfonie Haydn

Song 'The Black cockade' Mss ^Vhite

Allegro Pleyel

Song 'The Wounded hussar' Mr. Fox

Overture Cambini

Song 'Gray Jane', (by particular desire) .. .. Mrs. Hodgkinson

Minuetto Wraniski

Song '\^Tien Sandy told his tale of love' .. .. Miss Brett

Full piece Stamitz

Finally, after several years of seclusion in her boarding school, Madame
De Seze again ventured before the public in a concert at J. Adams junr.'s
Hotel on Dec. 9th i) with the following rather indifferent program, mono-
polized by Pleyel:

Act I

Symphony Pleyel

Song Madame Deseze

Concerto on the Piano Forte do.

Quintet Messrs. Henry, Deseze, etc.

Song Madame Deseze

Rondo Pleyel

Act II

Concerto on the Violin, by an amateur

Song, accompanied on the harp, Madame Deseze

Concertante on the Harp and flute do. etc. [!]

The much admired Song 'C'est pour toi que je

les arrange', accompanied by the harp .. do.
Finale Pleyel

The chapter on concerts at New York, taking New York as a musical
center, could be closed here as the vicinity of New York was practically a
musical mlderness. True, in Princeton there had been a musical awakening
about 1760 owing to James Lyon's activity while at college, and to the
North, West, East and South of New York singing-schools, psalmodists,
organs and organists and what Printz would have called Bierfidler were
not missing. Also a few music teachers would venture outside of New York;
theatricals including ballad-operas were given on a very modest scale, and

1) Daily Advertiser, Dec. 5, 1800.

— 248 —

now and then some local publisher would issue a psalm-tune collection, but
all this is hardly worth mentioning here. As to concerts, they were so few
that it is mere luck if one stumbles across them in the papers. However,
in order to be of service to local historians, a few references may follow here
to such concerts I accidentally found in my wearisome wanderings through
New Jersey papers and those published at Albany, the Athens of the Dutch,
and Poughkeepsie.

Shortly before New Jersey was to resound from the military bands of
the Hessians — the most famovis in Germany — Mr. Hoar, whom we met
in New York, strolled to Princeton. He was to have a concert at Mr. White-
head's Long Room on August 22, 17741) and hoped for the patronage of
the ladies and gentlemen of the neighborhood as he had not only engaged
the best local performers but was to have from New York the assistance
of two gentlemen and a young lady. The concert was to be divided in three
parts, with four songs in each and the whole was to conclude with a ball
"conducted on the same plan, as at Bath, Turnbridge, Scarborough and all
the polite assemblies in London or any other part of Great Britain". Among
the vocal music, consisting of a select and "well chosen number of songs,
cantatas, and duets" were the following:

Hie Highborn Queen

Say little foolish fluttering thing

Were I a shepherd's maid

Cleone, a cantata

The British fair

May Day, a Cantata

The Gaudy Tulip

The Lass with one eye

Sweet Willy O —

The English Padlock

The Sheep in her clusters

A new favourite Hunting song.

By permission of the magistrate, Mrs. M'Donald announced a "grand"
concert for July 31, 1799 at the Court House, Newark, N. J. in the Cen-
tinel of Freedom, July 23. Also by permission, the half-blind Mr. Salter,
on his drift to Charleston, S. C, gave a musical entertainment at the City
Hotel in Trenton, N. J. on Dec. 18, 1798 (State Gazette, same day) to which
admittance could be gained for the ridiculously low sum of 25 cents —
,,cliildren half price" — and the same unfortunate musician announced in
the Guardian, or. New Brunsmck Advertiser, Dec. 11, 1798 that "they"
would give a concert of vocal and instrumental music with "speaking and
elegant dancing" between the parts on the same evening at Mr. Sutton's.

1) New York Journal, August 11, 1774 under date of Princetown, N. Y. 6th Au-
gust, 1774.

— 249 —

In Albanyi), J. H. Schmidt, "esteemed of the best performers" on the
piano-forte, appeared before a public, proverbially close-fisted, at Mr, Angus'
Assembly Room on April 18, 1797 (Albany Gazette, April 17) with the
following program which leaves it open to doubt whether he was surrounded
by a miniature orchestra or whether Mr. Schmidt — and this would be
historically interesting — played piano-forte arrangements of the orchestral
pieces mentioned as becomes at least plausible from the words in the ad-
vertisement: "several musical pieces on the pianoforte":

Act I

Overture Vanhal

Grand Concerto on the

Pianoforte, with accompaniments, by .. Mr. Schmidt
Trio for two violins and bass

'Be never jealous' — a favorite duet for two voices
The celebrated Sonata of Dr. Haydn, for two

performers on one piano-forte, by Messrs. Schmidt and Weisbecher

Act II

Symphonia Stamitz

The 'Heaving of the lead' — a favorite song

by Mr. Schmidt
A Duett concertante, for two violins
The Battle of Prague, on the Forte-piano, by

Mr. Schmidt
Overture Haydn

1) Population: 1790—3498; 1800—5289 inhabitants.

BOSTON .4J^D NEW ENGLAND.

rIOUGH heretofore the early musical life of Boston has aroused the
interest of historians to the neglect of other musical centers, this partiality-
has led to some substantial results, clearing as it did the historical under-
growth. Still, it wll be seen that the works of Hood, Ritter, Brooks, Perkins
and Dmght and more recently Mr. Elson's sympathetic History of American
Music have by no means fully covered the ground as far as the concert-life
of Boston and New England in general is concerned. Now, with a greater
mass of data at our disposal, we shall no longer hesitate to call Boston a
musical city even in the eighteenth century. Had she not been, Boston,
with a population 1) much smaller than that of New York would hardly
have succeeded in suddenly gaining within a few decades a position in the
musical life of our country similar to that of Munich versus Berlin in Ger-
many. —

The musical advertisements in the early Boston papers 2) bear substan-
tial evidence to the fact that during the first decades of the eighteenth
century sacred music predominated in Massachusetts, but, it must be in-
sisted upon, not to such an extent as most historians would make us believe."
One of the strongest points against the prevalent theory is this that public
concerts were given at Boston at quite an early date.

The first concert recorded in our Colonial papers was advertised in the
Boston Weekly News Letter, Dec. 16 — 23, 1731 but this does not necessarily
imply that it was the first given! Also a bare possibility remains that
concerts might have been advertised in such earlier numbers of this weekly,

1) Population: 1722—10567; 1765—15520; 1790—18038; 1800—24937 inhabitants.

2) The first real newspaper, the 'Boston News Letter' was founded as early as
1704!

— 251 —

founded in 1704, as seem to be lost forever. However, undoubtedly Boston's
concert- life dates back to at least 1731 and everything considered this
is quite early. The announcement in the Weekly News Letter reads
thus :

On Thursday the 30th of this instant December, there will be performed a Concert
of Music on sundry Instruments at Mr. Pelham's great Room, being the House of
the late Doctor Noyes near the Sun Tavern.

Tickets to be delivered at the place of performance at Five shillings each. The
Concert to begin exactly at Six o'clock, and no Tickets will be delivered after Five
the day of performance.

N. B. There will be no admittance after Six.

This first concert was followed on Nov. 23 and Dec. 28, 1732 by two
"Consorts of Musick performed of sundry instruments" i). Both were held
"at the Concert Room in Wing's Lane near the Town Dock", from which
announcement we may infer that Boston possessed some kind of a concert
hall as early as 1732. Shortly afterwards, on Jan. 29, 1733, the same paper
informed the public of a further concert to be given on Feb. 1, 1733. ^he
advertisement is interesting as it contains the earliest reference to the dura-
tion of the entertainment. It was "to begin at Six o'clock and end at Nine".
This concert, however, was postponed to February 15th. The next I came
across was advertised in the Boston News Letter for March 11, 173G and
from the fact that the concert was to begin "at half an Hour after Six and
end at Nine", it might be inferred that then as now two hours and a half
had come to be considered the limit of human endurance.

Besides leaving us in the dark concerning the music played, the
newspapers never allude to the musician or musicians who thus in-
troduced concerts at Boston. The only clue is the notice that the first
concert was to take place "at Mr. Pelham's great Room". Now, this Pelham
was identical with Peter Pelham, the engraver, dancing master, manager
of the subscription assembly (in Puritan Boston!), boarding-school-keeper,
instructor in "writing, arithmetic, reading, painting upon glass", and dealer
in the "best Virginia Tobacco" 2). A man of such versatihty may also have
been proficient enough as a musician to give concerts. This hypothesis is
strengthened by the fact that he appreciated the difficulties of the musical
art sufficiently to put his son for nine long years "under the Tuition of an
Accomplish'd Professor of the Art of Musick". Then, after his return to
Boston in 1743, "Mr. Peter Pelham, jun." advertised his readiness to give

1) New England Weekly Journal, Nov. 13 and Dec. 15, 1732.

2) News Letter, Feb. 22. 1728; Boston Gazette, Jan. 1, Jan. 16, May 8, 1733;
Boston Evening Post, Jan. 16, Sept. 1744; Sci^t. 12, 1748.

— 252 —

lessons on the harpsichord and in the "Rudiments of Psalmody, Hymns,
Anthems, etc."i).

That young Pelham's training easily made him the foremost musician
of Boston is more than likely, but, strange to say, I have not found
his name mentioned again in the Boston papers. Perhaps he moved soon
afterwards to Virginia, where he is to be traced later on. He certainly does
not appear in connection with a concert given more than a year after his
return and erroneousy claimed to have been Boston's first concert. It
was thus advertised in the Boston Gazette on Nov. 27, 1744:

This is to inform the Public, that by the Permission of the Select Men, a Concert
of Musick for the Benefit of the Poor of the Town, is to be perform'd at Faneuil Hall^)
on Thursday the Sixth of December, which will begin at half an Hour after Five in
the Evening. Tickets may be had at the House of IVIr. Stephen D(e) Blois in Queen-
street at Ten Shillings each. As the Money raised will be put into the Hands of the
Select Men, those who are so charitably disposed as to give any thing extraordinary
may depend upon its being apply'd to the laudable Purpose aforesaid.

N. B. No person Tsall be admitted without a ticket.

In the meantime music had definitely entered into the public life of the
Bostonians and the fact that concerts were now beginning to be considered
a proper tribute of respect to the king, proves pretty conclusively, in my
opinion, that the New England Puritans were human, after all, on six days
of the week and not so frightfully bigoted, ascetic and narrow-minded as
they usually are pictured and that they did not consider music, to use Hullah's
words, a stolen pleasure, a popular legend so brillantly scouted by Davey
in his History of English music.

It naturally suggested itself to pay some attention to the Boston Select-
men minutes as reprinted in the Boston Town Records and the result was
quite gratifying. For instance, it is recorded of the meeting of Oct. 10,
1744 that:

"Mr. William Sheaf with a number of Gentlemen desire the Liberty of Faneuil
Hall to-morrow in the Afternoon being the King's Coronation Day in Order to Cele-
brate the Day with a Concert of Musick.

Voted that the Liberty be granted they making good all Damages & that it be
no President for the future."

However, the President had been established and the select men very
soon were called upon to \vrestle ^vith it. Accordingly they granted in their
meeting of Oct. 24. 1744

1) Boston Evening Post, May 30, 1743. According to William H. Whitmore in
'The Early Printers and Engravers of New England' (Mass. Hist. Soc. Proc. 1866 — 67)
he was baptised at St. Paul's Covent Garden, London, Dec. 17, 1721.

2) This venerable landmark of Boston, a combination of market and assembly
building, was built in 1742 by Peter Faneyil as a gift to the city.

— 253 —

"Liberty ... to Mr. William Sheafe & a Number of Gentlemen for a Concert of
Musick in Faneiiil Hall on Tuesday next, it being the Majesty's Birth Day, the Gentle-
men proposing the Benefit arising by the Tickets at Ten Shillings Old Tenor to be
for the Benefit of the Poor of the Town to be disposed of at Discretion of the Select
Men."

For some reason or the other the proposed concert did not take place
for we read in the minutes of the meeting on Nov. 21, 1744

"^Ir. William Sheafe & a Number of Gentlemen desire the Use of Faneuil Hall
for a Concert of Musick in the room of that which was to have been performed on His
Majesty's Birth Day, & as the Days are very short, that they might have it in the Evening
to break up at nine o' Clock, the Benefit arising by the Tickets to be for the Use of the
Poor of the Town as the Select men shall direct."

Liberty is granted to them accordingly."

The poor of the town had every reason to congratulate themselves on
the musical enthusiasm of Mr. William Sheafe and a number of gentlemen
for it was reported in the meeting of Dec. 12, 1744 that

"the Selectmen received of Mr. Stephen Deblois two hundred & five pounds five
shillings old Tenor being collected by a Concert of Musick in Faneuil Hall for the Use
of the Poor of the Towti."

Presumably the selectmen gave their consent to similar requests during
the next years but no reference to such appears in the printed minutes until
May 4, 1747 when

Mr. Thomas Hancock applied to the Selectmen in the name of his Excellency
Governor Knowles (with his Complements [!] to them to be there) Desiring he might
have the use of Faneuil Hall, one Evening this week for a Concert of Musick which was
unanimously consented to by the Select Men^).

Several years elapsed before a pubUc concert was advertised in the
papers. It was to take place on Jan. 9, 1755 2) at the Concert Hall in Queen-

1) It is necessary to call attention here to the fact that Mr. A. B. Brown in his
book on Faneuil Hall (p. 89) in referring to this request quotes that Mr. Thomas Han-
cock applied for the use of the hall "one evening in each week, for a concert of music".
On the basis of this quotation I claimed in my ai'ticle on 'Early Concerts in America'
(New Music Review, June, 1906) that Boston possessed weekly amateur concerts as
early as 1747. Later on I ran across the official version and as the contradiction bet-
Aveen the two versions was apparent Mr. Edward Burlingame Hill of Boston kindly
consented to consult the original minutes. Mr. Brown's version unfortunately is in-
correct.

2) Weekly News Letter, Jan. 2, 1755. See also Elson, who, by the way, states
that Concert Hall was built in 1756, obviously a slip of the pen. When Concert Hall
was built, is unknown. It existed already in 1754, though not called by that name
in a deed of Sept. 1754 by which Gilbert and Lewis Deblois, brasiers, conveyed it to
Stephen Deblois for 2000 pounds. In 1769 the latter sold it to WilUam Turner for
1000 pounds. The hall later on passed into the hands of the Amory family and stood
until 1869 when it was torn down to make way for the widening of Hanover Street.
(See Drake's History and antiquities of Boston, 1856 and his Old Landmarks of Boston.)
The Amory family cannot have purchased the hall from Turner before Sept. 1787 when
the Mass. Centinel, advertised it for sale. Turner, however, kept a dancing school
at Concert Hall for years afterwards.

— 254 —

street. We are not told for whose benefit the entertainment was held, but
it might have been John Rice who came to Boston from New York as
music teacher and organist of Trinity Church during fall of 17531). At any
rate his name is positively connected with a concert advertised in the Evening
Post, March 31, 1755 for April 10th, as it was to be given "for the benefit
of John Rice".

If this advertisement was the first to clearly identify a particular musician
with these early concerts, one that appeared in the Evening Post, Jan. 31,
1757 for the first time dimly alludes to the program:

For the benefit of Mr. Dipjyer, at Concert Hall, on Thursday next, the third of
February, will be perform'd, a Concert of Vocal and Instrumental Musick to consist
of Select Pieces by the best Masters.

Tickets to be had at the Crown and Comb the corner of Queenstreet, and at the
Golden Eagle in Dock Square, at half a Dollar each. To begin at Six o'clock.

Again it was Mr. Thomas Dipper who gave concerts on March 30, 1758
(deferred from March 14th); Jan. 4, 1759, Jan. 10, 1760, February 3, 1761
(postponed from Jan. 20th) 2) but beyond the usual information as to the
price of tickets etc. we are not acquainted with further details, except that
these concerts, too, consisted of "Select pieces by the best masters", a form
of advertisement which remained traditional in Boston for many years.
The only additional hint is contained in the announcement of the concert
on Feb. 3, 1761 when "many" of the pieces were to be "accompany'd by
two French horns" and the whole program was divided "into three acts".

This was the last concert announced under Thomas Dipper's name but

not the last in which he took part as may be inferred from the fact that

tickets for concerts on Nov. 6 and Nov. 12, 1761 were to be had of the

printers and of Mr. Dipper, at half a dollar each^). Possibly Thomas Dipper,

Avho had been imported from London as organist of King's Chapel in 1756,

still held this position part of 1762 but that no concerts or other musical

events at Boston can be linked with his name after 1762 becomes apparent

from, a notice in the Evening Post, June 6, 1763:

"We hear from Jamaica, that Mr. Thomas Dipper, late organist of King's Chapel
in this town, died there a few months ago."

Possibly the concert of Feb. 3, 1761 was the first of a series as the ori-
ginal amiouncement for Jan. 20th was headed "Mr. Dipper's Public Concert
will begin on Tuesday the 20th instant." This possibility leads to some rather
puzzling problems. In the first place, the term "public" concert is so un-

1) Boston Evening Post, Nov. 19, 1753.

2) Evening Post, March 13 and 27, 1758; Jan. 1, 1759; News Letter, Jan. 10,
1760; Evening Post, Jan. 12, and Feb. 2, 1761.

3) Boston Evening Post, Oct. 26 and Nov. 22, 1761. Possibly the concert on
Nov. 12th was merely postponed from Nov. 6th.

— 255 —

usual in Colonial Times as to invite the suspicion that in contradistinction
to this and other serial public concerts announced for no particular musi-
cian's benefit, there also existed at Boston jirivate concerts, as a rule not
accessible to non- subscribers. Now the latter species does not necessarily
imply that an organized society of "gentlemen-performers" existed at
Boston, but, if they met at more or less regular intervals, of necessity some
kind of organisation must have bound them together. Furthermore, should
it appear that one or the other of the prominent musicians not only gave
benefit concerts but managed serial subscription concerts, the query naturally
would arise whether the latter ran parallel to the collegium musicum, if we
may call it so, or were identical with it. Before attempting an answer, if
an answer is possible, perhaps it will be best to gather in chronological
order the few data that throw light on the puzzle.
Said the News Letter on April 29, 1762:

"The members of the Concert, usually performed [!] at Concert Hall, are hereby
notified that the same is deferred to the end of the Summer months. And it is desired
that in the meantime each member would settle his respective arreage with Stephen
Deblois, with whom the several accounts are lodged for that purpose."

Usually performed at Concert Hall ! This certainly does not read as if the
anonymous organisation of which Mr. Stephan Deblois seems to have been
the treasurer, was founded recently and who knows but that these musical ga-
therings had their spiritual father in William Sheafe and his friends or at
least sprang into life simultaneously or soon after the erection of Concert
Hall? Or, maybe Thomas Dipper had a hand in the organisation and if
the concerts were accessible to non-subscribers, then he possibly alluded
to the concerts at Concert Hall and not to an independent undertaking
when announcing in Feb. 1761 "Mr. Dipper's public concert".

Next we read in the Massachusetts Gazette, Oct. 2, 1766 that a Concert
of Musick was to begin on Oct. 7th and "to be continued every Tuesday
evening for eight months" at Concert Hall. Gentlemen inclining to become
members were directed to Mr. Stephen Deblois for further information.
Then, on Jan. 12, 1769, the same paper speaks of 'the private concert'
which Avas to begin on Wednesday evening the 25th. However, from the
Boston Evening Post of Feb. 2d we know that the opening night was
postponed to Feb. IQth and that the concerts thereafter continued every
other Wednesday until May 31st. i) Hence the name of "Wednesday Night
Concert". That it was not strictly private appears from the same announce-
ment as non-subscribers were admitted on papng half a dollar each. During
1770 Tuesday again seems to have been the night of meeting, at least the

1) Boston Evening Post, May 29, 1769.

— 256 —

last concert for the season was announced for Tuesday^ July 17, ITTQi).
It was to begin at the unusually late hour of eight o'clock.

During the winter of 1770 — 1771 at least two series of subscription
concerts were given, one under the direction of William Turner and the
other under Thomas Hartley. Mr. Turner seems to have been not less
prominent as musician than as dancing and fencing master. In fact,
he first appeared on the plan in the latter capacity by becoming in 1765
successor to his father Ephraim who had taught dancing and fencing at
Boston for many years and who died after a Hngering illness in October
17652). William Turner presumably was also active on the concert stage
during those years but I failed to find his name mentioned in coimection
Avith concerts until December 7, 1770 when his concert was to open by sub-
scription^). That this was not merely a benefit concert but really consti-
tuted the first in a series appears between the lines of the account of his
troubles with Mr. Morgan, the violinist, pubhshed in the Boston Gazette,
April 26, 1773. How long William Turner continued the enterprise is not
certain. Mr. Seilhamer when speaking of Burgoyne's Thespians in Boston
(1775 — 1776) mentions a concert given by Turner. This may or may not
have been a benefit concert but it is also to be gleaned from his exposure
of Mr. Morgan that this gentlemen threatened in April 1773, if not employed
by Turner, to "lead Mr. Propert's concert" against him. Consequently
Wilham Turner was still busy mth subscription concerts early in 1773. He
then seems to have gone to London from where he returned during the
summer of 1774 continuing to teach, "the poUte arts of dancing and fencing
in the newest and most approved method, at Concert Hall"*) and with
these accomplishments more than with music he appears to have made
his living in after-years.

Simultaneously with Turner, Thomas Hartley seems to have been con-
nected with subscription concerts during the winter of 1770 — 1771 as he,
in the Boston Evening Post of March 11, 1771, begged leave to

"acquaint Ms subscribers, that to avoid the Assembly and Passion Week, his two
remaining concerts will be held on Wednesday the 20th instant, and on Wednesday
the 10th of April."

Evidently John Rowe referred to one of these subscriptions concerts

with this entry in his diary on Jan. 3, 1771

"Spent the evening at Concert Hall, where there was a concert performed by
Hartly, Morgan and others; after the concert a dance. The Commodore and all the

1) Boston Evening Post, July 16, 1770.

2) Massachusetts Gazette, June 13, 1765 and Boston Evening Post, Oct. 21,
1765.

3) Boston Evening Post, Dec. 3, 1770.

4) Boston Evening Post, June 6, 1774.

— 257 —

captains of the navy here was there and Colo. Dalrymple and fifty or sixty gentlemen
and the same number of ladies present."

The next reference, or rather references to serial concerts appear in the
papers for 1773. On January 7th, Mr. David Propert, organist of Trinity
Church, acquainted the gentlemen subscribers and the rest of his friends
through the Massachusetts Gazette that "he is in expectation soon of a
Capital performer; and then he will open the concert for the winter season".
This preliminary notice was supplemented in the Boston Eyening Post by
the following quaint announcement:

Mr. Propert acquaints the Gentlemen Subscribers that he intends to open the Concert
at the British Coffee House in Kingstreet on Wednesday the 3d day of February. Wishes
he could have had a larger room, which by the next season he hopes to accomplish,
this being the best he can accommodate them at present. The performer he expected
is come, and he is also favour'd with the band of the 64th: the Uttle boys under his
care will in a short time be able to sing out of Mr. Handel's oratorios, as they have a
very distinguishing ear and power of voice: He returns thanks to those gentlemen
who are lovers of the art and have favor'd him with their support, and assures them
(as difficult as it may be) he will persevere to exert his abilities to give them all the
satisfaction in his power. —

Every night will be performed select pieces upon the harpsichord with accom-
paniment compos'd by the most celebrated masters of Italy and London; to begin at
half after six.

N. B. As the season is so far advanced the subscription is a guinea for three months.

From John Rowe's diary it appears that at least three concerts of the
series took place on March 3, 17, 31, 1773 with "good music" before "a
very genteel company".

We already know that Mr. Propert had a rival in WilUam Turner and
consequently musical Boston again enjoyed at least two series of subscription
concerts during part of the year 1773. This interesting fact is corroborated
by a glance into the Boston Evening Post of April 19th and in fairness to
William Turner his announcement also follows in full:

Mr. Turner respectfully begs leave to acquaint his subscribers that his last concert
for this season will be on Tuesday evening the 27th current, at which time will be per-
formed a variety of music received from London by Capt. Scott, which never has been
performed in this place — compos'd by the most eminent masters in Europe.

Mr. Turner also takes this public opportunity of returning his most grateful thanks
to his friends and subscribers for their support of his Concert during the past season,
and begs leave at the same time to acquaint them that he expects in June next an
elegant organ, made by the celebrated Mr. John Snitzler, and as he is determined to
spare no pains or expence to give satisfaction he hopes to merit a continuation of their
favors for next season, tho' many attempts have been made to injure him.

He also thinks it an act of justice to inform the public and his fi'iends that he is
not interested in ]\Ir. Propert' s Concert, advertised for Thursday 22d, as has been
reported.

The rivalry between the two musicians ended with a victory for David
Propert as the latter on Nov. -4, 1773 in the Massachusetts Gazette ac-
quainted the gentlemen subscribers to his Concert that it would be opened

Sonneck, Early Concert Life. 17

— 258 —

at Concert Hall on Wednesday Nov. 10th and continue on that day once

a fortnight. However, Turner soon was to have his revenge and we may

imagine his satisfaction when he read in the Boston Evening Post of Oct. 3,

1774 the following melancholical lines:

Mr. Propert begs leave to acquaint the gentlemen subscribers to the Concert that
he could not succeed in a nvimber sufficient to defray the expences and finds the town
in general not composed enough to enjoy or encourage any diversions at this un-
happy time of publick calamity and distress, therefore he has dropt all thought of
a concert for the present.

And yet a few more subscription concerts must have taken place before

the war turned the interests of the gentlemen subscribers into less peaceful

channels than the enjoyment of overtures, concertos and symphonies!

Foreshadowing the end, "the managers of the concert" gave public notice

in the Massachusetts Gazette Jan. 26, 1775 that the next meeting of the

gentlemen subscribers was adjourned to the first Thursday in March

"in order to settle with the performers for the time past — and to raise an ad-
ditional subscription to the stock in hand, to enable them to carry it on for two months
longer.

That these concerts were conducted not by David Propert but by W. S.
Morgan is also pretty certain as otherwise it would not have rested with
the managers to appoint Feb. 2d for a "grand" concert of vocal and instru-
mental music for Mr. Morgan's benefit i). On the other hand it is not quite
clear whether the managers raised enough additional stock to carry on the
concerts during March and April and if Morgan, regardless of the signs of
approaching war, on April 3d announced "his first evening's entertainment"
in the Boston Evening Post the form of his announcement almost leads
us to infer that the contemplated series was an enterprise of his own:

Mr. Morgan requests leave to acquaint his subscribers and the public in general
that his first evening's entertainment will be on Tuesday the 11th instant; when will
be performed a Concert of Vocal and Instrumental Music; between the parts of which
wiU be deUvered (gratis) several comic Lectures an various subjects.

Tickets at three shillings sterUng each to be had at the British Coffee House, and
of Mr. Morgan at his chamber near the MiU bridge, where such gentlemen as chuse to
subscribe may be inform'd of the proposals.

These are the scattered data on the basis of which an answer may be
ventured to the queries suggested above. Personally I am inclined to be-
lieve that at the very least from 1761 on, without any or with temporary
interruptions only, a sort of musical society existed at Boston until 1775
and that independently a few prominent musicians managed subscription
concerts. At any rate, semi-pubhc subscription- concerts flourished and it
is a pity that we know so very Uttle of the repertory, studied and
played by the gentlemen-performers with the assistance and under the

1) Boston Evening Post, Jan. 30, 1775.

— 259 —

guidance of the best available professional musicians, such, as Dipper,
Hartley, Turner, Propert and Morgan.

Having ventured one conjecture with reference to these subscription-
concerts another may follow here before terra firma is again touched with
the benefit concerts given by the musicians just mentioned and Messrs.
Flagg, Juhan, Selby, Asby, Mc Lean, Stieglitz and Stamper.

It is this. Beginning with 1763 a number of "public" concerts may
be traced apparently belonging to no series nor announced for the benefit
of any particular musician. But somebody must have been responsible
for them, and the question arises, who gave them? As they generally were
held at Concert Hall, the idea would not seem far-fetched that Concert-
Hall was erected by the Deblois as a business-proposition just for that
purpose. In other words, those concerts might have been given by the pro-
prietor or lessee of Concert Hall for the benefit of Concert Hall. Another
explanation is equally plausible. How, if they were pubhc appearances of
the gentlemen-performers who thus found it convenient and easier to defray
the current expenses of their "private" concert? Whatever explanation is
accepted the fact remains that public concerts were given which belonged
neither to any series nor were announced for the benefit of any particular
musician. The announcements were generally clad in the formula "con-
sisting of the most agreeable compositions from the best authors" but other-
Avise they throw little Hght on these somewhat mysterious entertainments.
The dates, together with such bits of information as might prove interesting,
were these: May 31, 1763 postponed from May 26th; Nov. 9, 1764; Oct. 24,
1765; Dec. 5, 1768; Jan. 13, 1769; June 20, 1770; Dec. 24, 1773i). The
concert of 1763 "opened" the latest acquisition of Concert Hall, "a delicate
and melodious new organ, made by the first hand and lately imported from
London in Capt Burges", and declared to have been "perhaps the finest
instrument in America". An item of interest connected with the concert
on Nov. 9, 1764 is this, that tickets were also to be had at Mr. Billings's
shop near the Post-office, and possibly we have in this the earliest musical
reference in the papers to William Billings, tanner, psalmodist and composer
whose music was to exercise such a strange fascination over our people for
thirty long years. The announcements of the other concerts are indifferent,
that of June 20, 1770 excepted. It shows that the Concert really was an
opera performance in disguise as the advertisement reads:

"A vocal entertainment of three acts. Tlie songs (which are numerous) are taken
from a new celebrated opera, call'd, Lionel and Clarissa".

Following this clue, it is then easily ascertained that in 1770 several

1) Boston Evening Post, May 16 and 30, 1763, Nov. 5, 1764, Oct. 7, 1765, June 18,
1770, Dec. 20, 1773; Boston Chronicle, Nov. 21-28, 1768, Jan. 2-9, 1769.

17*

— 260 —

others besides this opera by Dibdin were given in concert-form. Perhaps
Mr. Joan, of whom more later on, was responsible for these entertainments.
At any rate, John Rowe, not sufficiently weighed down by his wide business
interests to neglect his entertaining diary recently published, entered under
March 23, 1770:

"In the evening I went to the Concert Hall to hear Mr. Joan read the Beggar's
Opera & sing the songs. He read but indifferently, but sung in taste. There were
upwards one hundred people there."

Turning to benefit concerts, given either at the virtuoso's own risk or
with the assistance and under the auspices of the gentlemen performers on
the principle of do ut des, (which is not always clear) it would seem that
Thomas Hartley's benefit concert of Jan. 15, 1767 1) at Concert Hall was
the first given at Boston after Thomas Dipper's departure to Jamaica. Of
course, the program consisted "of select pieces by the most eminent masters"
which leaves a rather wide margin to our reconstructive imagination. When
announcing his "grand" concert on April 28, 17692) ]\jj.. Hartley even re-
frained from giving this meagre formula but he remarked that "the vocal
parts" would be held by a "gentleman from London" whose identity, how-
ever, is not disclosed. Finally, of his last benefit concert to be traced in the
papers, f. i. in the Boston Evening Post, Jan. 1, 1770, we know nothing ex-
cept the date. It was to be held on Jan. 5, 1770 postponed from Dec. 29,
1769. In 1771 we found him connected with subscription concerts but
after that he cannot have resided much longer at Boston since we found
him playing first violin at a concert in Charleston, S. C. in January 1773.
His subsequent career is unknown to me.

In the meantime the doors of Concert Hall had been opened to the public
on March 16, 1769 for the benefit "of the fife-major of the 29th regiment".
The concert certainly took place, for John Rowe, the Boston captain of
industry, entered in his diary under March 16, 1769

". . . . Spent the evening at the Fife-Major's concert at Concert-Hall — there was
a genteel Company & the best Musick I have heard performed there."

Tickets at the then usual price of half a dollar were to be purchased
at the London Bookstore, by the printers of the Boston Chronicle which
announced the concert on March 9 — 13th — and at Mr. M'Lean's, watch-
maker in Kingstreet. It will be remembered that a fife- major by the name
of John M'Lean gave a concert at New York in 1771. In case the 29th
regiment was a mihtia regiment, it is possible that the anonymous fife-
major of the 29th regiment, Mr. M'Lean the w^atchmaker and the fife-
major M'Lean were identical. If this correlation should prove to be

1) Boston Evening Post, Jan. 12, 1767.

2) Boston Chronicle, April 3 and April 27, 1769.

— 261 —

impossible, then tHs particular concert might be linked with the name of a
musician who in the Boston Evening Post, Oct. 11, 1713 claimed to have
been "the first founder and having at great expense of time, trouble, etc.
instructed a band of music to perform before the regiment of mihtia in
this town". This energetic musician was Josiah Flagg, born possibly about
Nov. 5, 17381) and best known as Boston's authority in psalmody before
WilUam Bilhngs appeared on the plan.

In 1764 Josiah Flagg had pubhshed his 'Collection of the best Psalm
tunes . . . approv'd of by the best masters in Boston. New England'. The
book was engraved, on paper made in the Colonies, by Paul Revere. This
coincidence is deeply regretted by those who collect early American psalm
tune collections for their value from the standpoint of musical history and
not from that of the history of engraving. Admitting that Paul Revere
did his work well, though he might have given credit to Henry Dawkins
whose title page to Lyon's 'Urania' he — to put it mildly and as was his habit —
deftly borrowed, Flagg's collection would not bring to-day the exorbitant price
of 52 dollars, had it not in after-years fallen to Paul Revere's lot to become
famous, under circumstances not wholly clear, as the man of the 'Mid-night
ride'. Be this as it may, Josiah Flagg compiled a useful collection and met
with sufficient encouragement to publish in 1766 'A collection of all Tan-
sur's and a number of other anthems' 2). But psalmody did not satisfy
ambitious Josiah Flagg and he soon ventured into the spheres of secular
music of which tendency traces may even be found in his collection of 1764.
To found and drill at great expense and trouble a militia band, is still con-
sidered a creditable undertaking, but Flagg did more than this. He gave
quite acceptable concerts and merits the particular sympathy and admiration
of the historian because he occasionally condescended to mention his pro-
grams. This, however, was not the case with the first concert actually
announced for his benefit which took place after a postponement of date
on June 29, 1769 at Concert Hall^). Still, Josiah Flagg merits some applause
for having at least remarked that the "vocal part [was] to be performed
by four voices, and to conclude with the British Grenadiers". As this pubhc
concert was the "last" this season, logically it must have been preceded
by others and it would be interesting to know whether it belonged to a
series of subscription concerts or whether Josiah Flagg had friends and
admirers enough to risk more than one benefit concert during that year.
His next benefit concert, on June 7, 1770*) was adorned by "a duet to

1) In the Records of the Church in Brattle Square, Boston, 1902 appears on p. 161
in the "List of Persons baptized" "Josiah Flag. November 5, 1738".

2) See my book on Francis Hopkinson and James Lyon, 1905.

3) Boston Chronicle, June 26/29, 1769.

4) Massachusetts Gazette, June 7, 1770.

— 262 —

be sung by a gentleman who lately read and sung in Concert Halli) and
Mr. Flagg".

All this reads harmless enough so far^ but that Josiah Flagg really
was conversant ynth. the best music of the time and possessed ambitions
and taste far beyond that of the average psalmodist — if he really
was an exception — is strikingly illustrated by the following programs.
For May 17, 1771 2) he solicited the patronage of the public with this really
remarkable selection of "vocal and instrumental musick accompanied by
French horns, hautboys, etc. by the band of the Gttth Regiment",

Act I. Overture Ptolomy Handel

yyyQJ<^ ^ Song 'From the East breaks the morn'

Concerto 1st Stanley

Symphony 3d Bach

Act II. Overture 1st Schmndl

Duet to 'Turn fair Clora'

Organ concerto

Periodical Symphony Stamitz

Act III. Overture 1st Abel

Duetto '\Mien Phoebus the tops of the hills'

Solo Violin

A new Hunting Song, set to music by .. .. Mr. Morgan

Periodical Symphony .. Pasquale Ricci

Nor did he lower his standard when less than half a year later, on Oct. 4th,
he gave another benefit concert at Concert Hall. That it was not custo-
mary to appeal to the public twdce within half a year, or rather that it was
customary to defer benefit concerts to the end of the season would appear
from a N. B. in the announcement in the Massachusetts Gazette, Oct. 3d
where Flagg emphatically denied that "his being thus early with his concert
is not with intention to interfere with any other person". As a side-light
on advertising methods of the time it may also be observed that the an-
nouncements in the papers differed. Whereas he gave to the Massachusetts
Gazette the news that his concert would be

"conducted (and a solo on the viohn) by Mr. Morgan, organist of Newport"
and that in the concert would be

"introduced several of the airs, dueto's and chorus's in Acis and Galathea, com-
posed by ]\Ir. Handel. — And in act the 2d a Concerto on the organ, by a gentleman
lately arrived from London"

the Massachusetts Spy, Oct. 3, 1771 was intrusted mth the publication of
the full program:

1) Either Joan or Douglas, who both gave operatic readings in 1770.

2) Boston Evening Post, May 13, 1771.

— 263 —

A.CT I Overture and the first chorus in Acis and Galathea, (by
ten voices) 'O the pleasure of the plains, etc.

Sixth Concerto of Stanley

Solo on the violin by ]\Ir. Morgan ^

Song 'Love sounds the alarms, etc'

Fourth Periodical Symphony
Act II. Overture in Pastor Fido

Duetto 'He comes, etc'

Organ Concerto by Mr. Selby

First Concerto by Mr. Humphrys

Duetto and Chorus in Acis and Galatea
'Happy Ave etc'

Overture by Ld. Kelly

His adimration for Haenclel found further expression in a concert at
which Josiah Flagg possibly made his final bow to the pubhc of Boston.
It was then that he reminded them of their obUgations to him for having
founded and drilled the first regular mihtia band of Boston. He made his
appeal to the pubhc purse still stronger by notifying his friends that he was
"about to leave the Province soon" and hoped that they would enable
him to do it in an independant manner"i). Thus the "Grand Concert of
vocal and instrumental music to be led by Mr. Morgan" and for which he
had obtained leave "of the gentlemen selectmen" for the use of Faneml
Hall on Oct. 28, 1773 partook of the character of a testimomal concert tor
Josiah Flagg with this program :

The First Pabt.

An Overture

Song

An Overture in the Shepherd's Lottery2)

Song

Harpsichord Concerto

A Chorus in the Messiah

The Second Pakt

Coronation Anthem

Solo Viohn, 'The Hero comes'

Overture

Liberty Song^)

There will be upwards of 50 performers.

Whether or not Josiah Flagg left Boston, I do not know but the pro-
babilities are that he did, for otherwise an ambitious and energetic man
hke Fla<^g would have been heard from subsequently. Any further data on
his career would be welcomed as Boston was not too generously favored
with pioneers like Josiah Flagg in those days. That his services were kept
in good remembrance long after his death would appear from the accounts

1) Boston Evening Post, Oct. 18, 1773.

2) W. Boyce. ,

3) Words by John Dickinson to 'Heart of oak .

— 264 —

of a concert given on Jan. 31, 1795 by the flutist Mr. Stone for the relief
of the widow Flagg. This concert netted the handsome sum of one hundred
and two dollars. That this was Josiah Flagg's widow I infer from the fact
that she was the mother of the dentist and "vile miscreant son" Josiah
Flagg, junr. But of this concert more will be said later on.

It is peculiar how suddendly and mysteriously many of our early musi-
cians appear on the horizon and disappear again leaving either no clue
whatever to their antecedents or allowing the inquisitive biographer only
momentary glimpses into the different periods of their hfe or again leaving
no traces behind them, once they have proved fairly interesting subjects
of investigation. In the majority of cases this fragmentary condition of
their biographies will cause no heart burning but when we have to deal with
men like Josiah Flagg, William Tuckey and others we certainly sigh for
more data. Though by no means as important a figure as these two mu-
sicians, James Juhan furnishes a further typical example of such a meteoric
career. Indeed in his case, conjecture has to furnish more or less broken
links in the biographical chain, fragmentary at its best.

On Oct. 20, 1768 the Boston Weekly News Letter contained an adver-
tisement to the effect that a James Joan taught the French language, in-
strumental nmsic, dancing and the minuet privately to ladies and gentlemen
in the commodious and large building opposite "Dr. Coopers Meeting".
So far this advertisement reads like so many others but Joan added that
he also made and sold neat violin bows, thereby becoming entitled to a pos-
sible serious consideration in a history of violin making in America. The
suspicion is correct, for we read in the Boston Chronicle, July 31, 1769 that
he indead made and sold "below the SterUng price violins, screw-bows, and
cases, equal in goodness to the best imported". It is the same old cry of
protest against the fictitious and yet not fictitious supremacy of the Cre-
monese instruments! However, what truth Joan's assertion might have
contained, he conceived — and probably it was the first experiment of the
kind in our country — the idea of allowing the unbiased public to decide
upon the superiority, inferiority or equal value of his instruments. On
March 1, 1770 1) our ambitious Frenchman gave a benefit concert at Concert
Hall, where he had taken up his abode in the meantime as teacher of the
violin, German flute and bass-viol. At this concert "aW the violins that
[ivere to] be used [had] been manufactured here by the said Juan"^). To the
historian this bit of information is of decidedly more interest than the notice
that the program contained "two grand choruses for four voices, the words

1) Boston Evening Post, Feb. 19, 1770.

2) To save others the trouble of fruitless reference, I remark that no violin maker
by the name of Joan, Juan or Juhan appears in v. Liittgendorff.

— 265 —

will adapted to the times [and] two other excellent songs". But we are
glad to hear this and also that James Joan in September of said yeari)
still carried on "the manufacture of violins^ bass-viols etc. in the greatest
perfection from two to ten guineas price". Possibly Mr. Joan repeated
his experiment when he gave a "grand" concert^ Mr. David Propert performing
some select pieces on the fortepiano and guitar between the acts at Concert
Hall on March 21, 1771 2), but this is not recorded.

It will have been noticed that the name of our would be Stradivari
is given in two different forms: James Joan and Juan. Now no musician of
either name appears again in the Boston papers but we read under date
of Sept. 12, 1771 in the South Carolina Gazette of Charleston:

James Juhan, lately arrived in this province . . . proposes teaching violin, German
flute and guittar, he likewise proposes tuning harpsichords, spinets etc. by the year,
quarter or otherwise, and repairs . . all sorts of musical instruments . . . has to sell
a jew excellent violins

and in a hke capacity we still find James Juhan at Charleston in April 1772^).
Therefore the conjecture might not be considered unreasonable that James
Joan or Juan who displayed his violins in a concert at Boston and the James
Juhan of Charleston, S. C. are identical. What became of this James Juhan
until he reappears in 1783 at Philadelphia, "lately arrived . . , with his
family" as music teacher and manufacturer of the "Great North American
Fortepiano"*) is again a puzzle. Possibly he died at Philadelphia but cer-
tainly he left his mark on the city's musical life through his son, for we do
not hesitate in believing that James was the father of Alexander Juhan,
junior who from 1783 on played such a prominent part in the musical
affairs of the Quaker City.

Merely mentioning a concert of vocal and instrumental music at Concert
Hall on April 20, 1770^) for the benefit of a Mr. Asby who at the end of the
entertainment was to appear "in the character of a clown" in the cantata
'Cymon and Siphigenia', our attention turns for a while to the "capital
performer" whom David Propert had been so anxiously awaiting. W. S.
Morgan, shortly after his arrival in Boston on Nov. 1770 hastened to notify
the public that he was a "pupil of Signior Giardini", that he purposed "in-
structing ladies and gentlemen on the harpsichord, vioUn etc. on the easiest
terms and by the mostapprov'd methods" and that he was to be spoke with
at his Academy Room from the hours of nine in the morning to one o'clock.

1) Massachusetts Gazette, Sept. 6, 1770.

2) Massachusetts Gazette, March 7, 1771.

3) South Carohna Gazette, April 16, 1772.

4) Pennsylvania Gazette, June 25, 1783. Spillane, Ford, Brooks and others by
some strange error give the name as Julian.

5) Mass. Gaz. March 29 and April 19, 1770.

6) Massachusetts Gaz. Nov. 8 and Nov. 22, 1770.

— 266 —

But Mr. Morgan's path in the Colonies was not to be strewn with roses
and for this he had nobody to blame but himself. Mr. W. S. Morgan seems
to have been somewhat of an adventurer, spendthrift, drunkard and all-
around rascal. In a letter addressed to the "impartial" public in self defense
to certain actions of his, in the Boston Gazette, April 26, 1773, William
Turner not only draws a vivid picture of Morgan's character but incidentally
becomes his biographer. Said he:

As my conduct towards Mr. Morgan has been much censur'd, I beg leave to offer a
number of real facts, which I am thoroughly convinc'd will alter the opinion of every
prejudic'd person and point out them that I'm the only injur'd man. —

On Mr. Morgan's first arrival here, Mr. W. F. W. a gentleman belonging to the
navy apply'd to me and ask'd me to employ said Morgan, on which I told him, if he
was capable to play either first or second fiddle in the Concert I would do it. Accor-
dingly, Mr. W. F. W. desir'd him to call on me and convince me of his capacity,
which was done. After which I inform'd Mr. W. F. W. he'd answer my purpose and that
he should be employ'd as soon as the Concert open'd and should receive a benefit concert
for Assistance."

Soon after, says Turner, he received a note from Morgan that he was
in the hands of the sheriff not having paid his board bill. Turner paid the
sum in order to keep Morgan out of prison. Not only this, he takes him
to his home, introduces him to his friends and supports him "with board
and money" "upwards of six months", in consequence of which Morgan
promised utmost friendsliip.

". . . . he then having an opportunity of doing something for himself, by going to
Newport, desir'd a letter of recommendation . . . which was readily granted, the con-
tents of which got liim into business that brought him in at the rate of £ 150 Sterling
per annum, but he being imprudent lost his business and friends and was obliged to
quit Newport ...

A week later Turner received a letter from Rochester asking him to help
him (Morgan) out of troubles, which he did. By this time it had become
impossible to interest his friends in Morgan. Finally they sent him to Ports-
mouth and

"he again got into good business and might have continued so till this day, if he
had behav'd like a gentleman but being oblig'd to quit that place, he once more return'd
here, and call'd at my house in the evening and told me, if I did not employ him he
should lead IVIr. Propert's Concert against me ; I having company, and finding him not
in a capacity to talk with, desir'd he would let me know where he lodg'd, and I'd call
and talk with him in the morning. This he declined and Avent off leaving me in the
dark. This happen'd on Friday Evening and I never heard anything of him 'till I
read Monday's paper and found he'd come to assist Mr. Propert against me although
he had repeatedly declar'd he never wou'd perform against me on account of my great
friendship towards him.

But to come to the point, this said Morgan being indebted to me ever since
the year 1770 and I finding him to be ungrateful, requested my just due, and
desir'd he would settle with me and pay the balance or at least give security
for it."

Of course, Morgan makes all sorts of promises but Turner does not re-
ceive a penny, whereupon he sends an officer with a writ.

— 267 —

"Now I appeal to all unprejudiced persons if this was impolite behaviour to a
man that has acted so ungrateful a part. Further, so far from my being desirous of
hindering the company that attented at Sir. Propert's concert on the 22d instant of
Mr. Morgan's performance, I desir'd the officer M. Otis, if he cou'd not get bail,
to discharge him, and I'd pay cost, as I despis'd an ill natur'd action . . ."

In every other walk of life Mr. Morgan would have been ostracized after
this exposure, so easily to be verified by inquiries at Newport and the other
scenes of his escapades, but he was an artist and in an artist usually such
conduct is gladly condoned as long as he pleases as a capital performer.
This W. S. Morgan undoubtedly was in the eyes of the public and musicians
of Boston during the few years of his intermittent residence there. After
having proved his abihties as violinist in Turner's first subscription concert
of 1770 — 1771, Morgan saw his way clear to give on Feb. 8, 1771 his first
benefit concert i) at Concert Hall with a band. This was followed by a
second benefit assisted by the band of the 64th Regiment on May 10th 2).
After his disastrous expedition to Newport, Rochester and Portsmouth he
returned to Boston early in April 1773 and inmiediately announced a "grand"
concert, he himself to play the violin and D. Propert the harpsichord, for
April 22d. The first act was to conclude "with the celebrated Highland
Laddie concerto never performed here. And by particular desire [was to]
be sung, the favorite song of Mongo, out of the Padlock", by Dibdin^).
The entertainment was postponed to April 26th as on April 22d, owing to
what Messrs. Morgan and Propert probably considered an "ill natur'd
action" on Turner's part, Mr. Morgan had made the forced acquaintance
of Mr. Otis, officer of the law. He again appeared before the public in a
benefit concert on March 10, 1774*) and then went into a kind of partnership
with a Mr. Stieghtz, a "capital performer on the German flute" who had
arrived from London in December 1773 and had introduced himself to the
Bostonians with a "grand" benefit concert on Dec. 28th^). Having received
assurance of the patronage and assistance of the Musical Gentlemen Messrs.
Morgan and Stieghtz combined their fortunes with the assistance of the
band of the 64th Regiment on April 20, 1774 at Concert Hall^). At the
end of the concert Morgan appeared in a new capacity, as orchestral com-
poser and unless his Military Symphony suffered in the neighborhood of
Stamitz and Arne, it cannot have been half so worthless as its author. But
Mr. Morgan's sins shall be forgiven, as he was generous enough to insert
the full program:

1) Mass. Gaz. Feb. 8, 1771. The concert was postponed from Jan. 25th by
particular desire.

2) Mass. Gaz. May 9, 1771.

3) Mass. Gaz. April 8, 16, 26, 1773.

4) Mass. Gaz. Feb. 10, March 10, 1774.

5) Boston Evening Post, Dec. 27, 1773.

6) Boston Evening Post, April 4, 1774.

— 268 —

Act I

Overtiire Stamitz, 1st

Concerto — German flute
Song — 'My dear Mistress'
Harpsichord Concerto by Mr. Selby
Symphony — Artaxerxesi)

Act 2d.

Overture Stamitz 4th

Hunting Song ..
Solo, German Flute
Song — 'Oh! my Delia'
Solo Viohn
To conclude with a grand IVIilitary Simphony accompanied by kettle drums, etc.
compos'd by Mr. Morgan.

Tickets at half a dollar each . . .

N. B. Copies of the songs to be delivered out (gratis) with the tickets. — To begin at
seven o'clock precisely.

Emboldened by their success and at the particular request of a number
of gentlemen Messrs. Morgan and Stieglitz — of course, again with the
assistance of the band of the 64th Regiment — gave a second joint-benefit
at Concert Hall on May 18th 2) with a different but not less interesting
program :

Act I

Overture Guglielmi 1st

Concerto Brabant

Song 'All in the downs'
Harpsichord Concerto, Mr. Selby
Simphony — G. Flute, accompanied with
kettledrums [!]

Act 2d.

Overture Gossec 33d

Song

Solo— G. Flute

Song 'Soldier tir'd of war's alarms', from
the opera of Artaxerxes, accompanied
with the kettledrums, etc.
Solo Violin
To conclude with a grand Simphony by Lord Kelly, accompanied by kettle-
drums, etc.

Then the two ambitious gentlemen separated their fortunes again
though continuing to exchange professional courtesies. Thus Mr. Stieglitz
with the promised assistance of the Gentlemen Performers gave a benefit
concert on Feb. 21, 17753) and Mr. Morgan one on Sept. 8, 1774*). Though
the program is not mentioned the meagre announcement is of great historical

1) Arne.

2) Boston Evening Post, May 9, 1774.

3) Massachusetts Gazette, Feb. 9, 1775.

4) Boston Evening Post, Sept. 5, 1774. Postponed from Sept. 5th.

— 269 —

importance as it proves that the full orchestra of the period, including cla-
rinets was employed and from the tenor of the advertisement it must be
inferred that on this occasion the orchestra was of unusual size. The announ-
cement reads in part:

First violin, Mr. 3Iorgan. German flute, Mr. Stieglitz. Harpsichord, Mr. Selhy.
Accompanied with clarinets, hautboys, bassoons, French horns, trumpets, kettle-
drums-, etc. etc.

N. B. The Gentlemen Performers of the Ai-my, Navy and of the Town, have pro-
mis'd Mr. Morgan their assistance in [this] Concert ; likewise some of the best performers
from the several bands of music of the line.

With exception of the benefit concert tendered him by the managers of
the Gentlemen-performers' concert on Feb. 2, 1775 1) and of his attempted
revival of the subscription concerts in April of 1774, this concert on Feb. 2,
1775 was the last in which W. S. Morgan seems to have appeared before
the pubhc of Boston and I do not know what became of him after 1775.

During the last years of his career at Boston, W. S. Morgan sided, as
was seen, with David Propert against Mr. Turner. This musician "pro-
fessor of musick" moved from New York where he taught music and "gave
out plans for organs, from 35 1. to 500 1." to Boston late in 17702). He di-
vided his energy between teaching half a dozen instruments and selUng
"a variety of [imported] new musick and musical instruments", but devoted
himself in after-years almost exclusively to deahng in instruments. In 1771
David Propert became organist of Trinity Church and in that capacity he
announced benefit concerts at Concert Hall for Oct. 15, 1771 when he.had
"a good company upwards of 200" (J. Rowe) and Oct. 13, 1772^) before he
assumed charge of the subscription concerts mentioned.

We further know that on Sept. 22, 1773 in celebration of the King's
Coronation a "grand concert of musick" was given at Concert Hall*), and
that on Oct 24, 1774 on the anniversary of the King's birth there was a
"grand" concert at Faneuil Hall" in honor of royalty"^). Finally, from the
Massachusetts Gazette, Dec. 29, 1774 it would appear that a concert, pre-
viously announced for Dec. 12th for the benefit of a Mrs. Stamper who was
in distressed circumstances, was postponed to that day. It was to be "com-
pos'd of the greatest variety of instruments ... in town".

While William Turner and David Propert who occasionally played at
John Howe's home and whom the genial merchant called a "fine hand"
were fighting for supremacy in matters musical, a musician was gradually

1) Boston Evening Post, Jan. 30, 1775.

2) N. Y. Mercury, Sept. 17, 1770; Mass. Gaz. Dec. 27, 1770. Propert reappeared
again at Boston in i789.

3) :\Iass. Gaz. Sept. 26, 1771 and Boston Evening Post, Sept. 28, 1772.

4) See Brooks, p. 157.

5) See Abram Enghsh BrowTi's 'Faneuil Hall', 1900, p. 89.

— 270 —

forging to the front to wliom more than to Gottheb Graupner or any other
musician the glory is due of having indirectly laid the foundation for the
Handel and Haydn Society, indeed the glory of having prepared the musical
future of Boston more than any other musician before or after him. This
musician was William Selby and if in the 'History of the Handel and Haydn
Society not even' his name is mentioned, I can only repeat what I have said
in my Bibliography of Early Secular American Music:

The rapid progress of music at Boston was largely prepared by him and
it is unfair not to mention William Selby among the musical pioneers of
Boston.

As the name implies, William Selby was an Englishman and we probably
have to recognize in him the organist of St. Sepulchre's in London who at
the anniversary of the Charity School in 1767 accompanied on the organ
the anthem composed by Kiley and sung by the Charity Children. Had
Selby remained for any length of time in London, certainly his name would
appear in other sources (accessible to me) besides in Pohl's 'Mozart and
Haydn in London', v. II, p. 212. This, as far as I can see, is not the case.
However, one fact stands forth: in Josiah Flagg's concert of Oct. 4, 1771
a concerto on the organ was performed by a "gentleman lately arrived from
London" and this gentleman undoubtedly was William Selby, whose talents
as harpsichord player and organist were soon recognized by those who gave
concerts at Boston.

It would be interesting to know if Wilham Selby left London because
he had received a call as organist by the vestry of King's Chapel, (after
the war temporarily called Stone Chapel) a position which he must have
held in 1772 as a benefit concert was given in Oct. 1772 by "Mr. Selby,
organist at the King's Chapel". Either late in 1773 or early in January
1774 he became organist of Trinity Church at Newport, R. I. as appears
from an advertisement in the Mercury, Jan. 24, 1774 where he also announced
his intention of opening a dancing school! Whether this combination of
occupations displeased Newport or whether Newport displeased Selby, he
cannot have remained organist of Trinity Church far into September, as
Sept. 16, 1774 a benefit concert was announced by "Mr. Knoetschel, orga-
nist of Trinity Church". But Selby still held the position in August as
he then announced a concert for his own benefit i). He subsequently
returned to Boston and again became organist of King's Chapel as the
church records remark under date of Easter Monday, 1777:

A public collection for his benefit was ordered. It amounted to M 2. 13
only but ^ 20 additional were voted out of the church stock^). He fared

1) See Brooks, Olden Time Music, p. 63.

2) Foote's Annals of King's Chapel, II, p. 309.

— 271 —

much better in the following year, for John Eowe entered in his diary under

Nov. 8, 1778:

"Mr. Selby had a collection this afternoon it amounted L 97. very handsome."

Still, Selby at one time during the war evidently saw himself obHged to
look for other revenues besides those accruing to him as organist and music
teacher, as in 1780 he is mentioned as selling at his shop near Broomfield's
Lane "Port, Teneriffe, Malaga Wines, Tea, Brown and Loaf sugar, logwood,
English soap, etc."i). However, with the year 1782 he stepped out of the
Uquor and grocery business and lived again the musical life. Possibly from
1779 to 1782 owing to the condition of the church, Selby was not organist
at the Stone Chapel but in Oct. 1782 he is again mentioned as such in the
papers. He held the position until succeeded by P. A. Van Hagen in 1799.
He died early in December 1798 for we read under the death news in the
Columbian Centinel Dec. 12, 1798 : "In this town, Mr. WilHam Selby, Aet. 59".
Consequently he was born in 17382).

In addition to his activity as harpsichordist, organist, music teacher and
above all as manager of concerts, William Selby strived for the laurels of
a composer and compiler and in this respect, too, he should not be under-
estimated. Possibly one or. the other of the concertos which he played at
concerts were the fruit of his activity as composer and that he really did
compose an organ concerto will appear a few lines below. But not until
1782 do we possess tangible proof of his ambitions as composer. It was in
this year that he proposed to "the friends of music and the fine arts" to
publish by subscription, in monthly installments his 'New Minstrel' which
was in fact to be a collection of "original" compositions. I have given in
my Bibliography the full text of these proposals, remarkable not only for

1) Continental Journal, Jan. 13, 1780.

2) These statements contradict Foote's Annals of King's Chapel where we read
(v. II, p. 403) that Wilham Selby was organist from 1782 to 1804 at a salary of L. 66.
13 s. 4 d. being succeeded by Mrs. Elizabeth Van Hagen, 1804 — 18 10. It is also stated
that his immediate succeesors were not able to efface the memories of his superior abi-
lities. This I was willing to beheve but the year 1804 aroused my suspicions. Indeed it
could not be correct. In the first place, P. A. Van Hagen, junr. is positively mentioned
as "organist of the Stone Chapel" when advertising in the Columbian Centinel, Jan. 4,
1800 the publication of his 'Fimeral Dirge on the death of George Washington ! Further-
more "Selby, William, musician Tremontstreet" figures in the Boston Directory of
1796, as "organist, Tremontstreet" in that of 1798, but no longer in that of 1800 nor
1803. In the one for 1800, however, we find "Selby, Sarah, Tremontstreet" and the
supposition will not be considered violent that she was his widow. (The only item con-
flicting is this that in the Boston marriage records of 1792 his bride's name is given
as Susannah (Parker) but the address, in my mind, carries more circumstantial evidence
than the difference in the Christian name). Finally Mrs. Van Hagen is not mentioned
as organist in the directories before 1805 whereas we find "Von Hagen, P. A. jun. or-
ganist" in that of 1803. If therefore his mother became organist in 1804 he seems to
have held the position from 1799 to 1803. As my request Mr. Edward Burlingame
Hill of Boston took the matter up and he succeeded in finding Selby's death notice
in the Columbian Centinel as quoted.

272

the boldness of the plan, but also for the proud spirit and strong love of his
art and for the confidence Selby had in the musical future of his adopted
country. I also stated there that his appeals do not seem to have fallen
on willing ears. Still, Bostonians must have held him in some esteem as
a composer. Otherwise the Massachusetts Magazine would hardly have
offered to its subscribers in 1789 and 1790 such songs of his as 'The Lovely
lass', 'The Ode for the New Year', 1789, the 'Ode on Musick', 'The Rural
retreat', partly reprinted in after-years in the American Musical Miscel-
lany, 1798.

In the meantime, as will be seen, his 'Ode in honour of General Wa-
shington', his anthems '0 be joyful in the Lord', 'Jubilate Deo', 'Now unto
the King eternal' were performed in public as also 'An Ode to Independence'
at the Stone Chapel in celebration of the 11th anniversary of American
Independence on July 7, 1787 1). We also know that two anthems by William
Selby

"one taken from the 100 th Psalm for four voices (that was performed at the
Stone Chapel on the 30th of April [1782], the other taken from the 17th Psalm, for
three voices, composed in an easy and familiar style, and adapted for the use of
Singing Societies"

were pubhshed in Aug. 1782 2). By glancing over the psalm tune collections
etc. of the last two decades of the eighteenth century, it will further be ob-
served that the compilers occasionally embodied some of Selby's works,
which goes far enough to prove that he had become favorably known as
composer. However, Selby himself thought well enough of his efforts to
again approach the music lovers in 1790 and 1791 with proposals for publish-
ing, if not all, at least a considerable number of his compositions on a similar
plan as the 'New Minstrel', of 1782. This time he selected the fetching
title 'Apollo, and the Muse's musical compositions'.
The work was to comprise:

"Anthems in four parts, with symphonies for the organ — Voluntaries or fuges
for the organ or harpsichord. Sonatas or lessons for the harpsichord or pianoforte —
Songs set for the voice and harpsichord or pianoforte, also, transposed for the German
flute and guitar — A piece with variations for the harpsichord or pianoforte, in con-
cert with the viohn and guittar — A concerto for the organ or harpsichord with instru-
mental parts — A Sonata for two vioHns and violoncellos."

A veritable catalogue of William Selby's v^■orks up to 1790, but again it
is not clear whether 'Apollo' left the press. Parts perhaps, for I am now
inclined to believe that an engraved torso of pieces buried in a volume

1) Massachusetts Centinel, Boston, July 7, 1787. The ode beginning 'All Hail!
SubUme she moves along' was said to have been "inimitably" performed. The solo
parts by Mr. Deverell, a watchmaker by trade, and the chorus by a select company
of singers at the end of the service.

2) Boston Gazette, Aug. 26, 1782.

— 273 —

of tracts at the Massachusetts Historical Society and in which appear (first)
a 'Lesson', a song called 'Silvia', an 'Ode as performed at the Stone Chapel,
Boston [1789] before the President of the United States of America', 'In
Acis and Galatea', and a 'Fuge or voluntary' made part of this edition of
William Selby's collected works.

That a man of such ambitions Avould leave his mark on the musical si-
tuation at Boston, was natural, but, as was stated above, William Selby,
at least as far as the concert-life is concerned, did not become the leading
musical personality of Boston until after the Avar. Of course, he came in for a
share of the benefit concerts during the last years preceding the war and
his programs were by no means inferior to tho^e already mentioned. For
instance, that of his concert postponed to Oct. 26, 17721), ^\^q anniversary
of George III accession to the throne, in order not to "do anything to the
injury of Mr. Propert", who had likewise announced a benefit, will be read
with interest by those w^ho perhaps desire to contribute to the so-called
Renaissance - movement with a t}^ical eighteenth century program.
Mr. Selby "organist at the King's Chapel" presented the following selection
at Concert Hall:

Act Fibst

1st. Periodical sinphonia

Song

2d. Correlli's Concerto's [!]

Song

4th. Periodical Sinphonia

,. Bach
. Filtz

2d Act.

1st. Abel's 7th opera

Song

Harpsichord

20th Periodical Sinphonia

Handel's Grand Coronation

. Piccini
Anthem in

22 parts.

. . . N. B. The above concert will be assisted by the band of his Majesty's 64 th
Regiment and the concerto designed for the harpsichord vn.\\ be performed on an organ.

If this program was mainly instrumental, Selby's benefit concert on
Sept. 22, 17732), the anniversary of the Kings coronation, partook more
of the character of a choral concert in honor of Haendel. With the same
band under W. S. Morgan as leader and vioUn soloist, Selby, presumably
with the choir of King's Chapel, rendered this program at Concert Hall:

1) Boston Evening Post, Oct. 5 and Oct. 12, 1772.

2) Boston Evening Post, Sept. 19, 1773.

Sonneck, Early Concert Life. 18

— 274 —

First Act.

Overture Mr. Handel

Song, Duet and Chorus
Organ Concerto
Song

Hallelujah, Grand chorus in Mr. Handel's
oratorio of the Messiah

Second Act
Sinphonia
Glee in three parts, composed in the

year 1600

Solo Viohn .. .. ' Mr. Morgan

Handel's Grand Coronation Anthem

in 22 parts.

*** Tickets at half a dollar each . . .

To begin at 7 o'clock precisely, and no money will be taken at the door.
Mr. Selby having been at great pains and expence to have his concert performed
elegantly, humbly hopes to be patronized by his friends and the public.

Not until 1782 does Selby's name again positively appear in connection
with concerts and thereafter he seems to have bent his energies less on good
orchestral than on choral concerts. Therein lies his claim to be called an
indirect founder of the Handel and Haydn Society. With this statement
it is not intended to underestimate the pioneer work done since about 1720
by the 'singing schools', and the several choirs of Boston which undoubtedly
profited by the efforts of the singing schools to prepare young and old for
a better understanding and a better rendition of the hymns, psalms and
anthems used in the churches. That also in both the singing schools and
church choirs excerpts from Haendel's works were studied with enthusiasm
may be taken for granted but neither Billings nor his rival psalmodists seem
to have possessed the necessary energy to bend opportunities towards a more
systematic and artistic study of sacred cantatas not only but of oratorios.
In this respect William Selby was destined to fulfill a mission and to give
the musical life of Boston a stimulus in the right direction.

The concert alluded to, a veritable musical landmark of Boston, was
to be conducted by William Selby for the benefit of the poor of Boston in
the afternoon of April 23, 1782 at the Stone Chapel, but was postponed
on account of the weather to the last day in ApriU). Tickets were to cost
four shillings, the doors were to be opened at three and the performance
to begin at 4 o'clock and "books of the performance" were printed and
sold at the Chapel. Not having been fortunate enough to discover one of
these printed books, of necessity, I must restrict myself to a quotation of
the program as announced in the press of this

1) Boston Gazette, April 15, 1782; Boston Evening Post, April 27, 1782.

— 275 —

Musica Spiritualis, or Sacred Music being a Collection of Airs, Duetts and Choruses,
selected from the oritories [!] of ]Mr. Stanly, Mr. Smith and the late celebrated Mr.
Handel ; together with a favourite Dirge, set to music by Thomas Augustus Arne,
Doctor in Music. Also, a Concert on the organ, by Mr. Selby.

But Mr. Selby's ambitions ran still higher. We may trust that though
he had become an American, the news of the gigantic Handel Commemoration
at Westminster Abbey in 1784 filled his soul with pride and that it awakened
a desire in him, if possible and as far as possible, to unite the musical forces
of Boston in a concert which would assume the proportions of a festival
and would show his fellow-citizen what could be done even in a small city
like Boston. This opportunity was soon to come. The revolting conditions
of our prisons in those days is a matter of history. But be it said in honor
of the more humane part of the young nation, the number of those who
not only deprecated the conditions but sought to relieve the misery of the
poor, unfortunate prisoners was steadily increasing. After very careful
preparations the Musical Society of Boston, presumably founded in 1785
and of which William Selby undoubtedly was the musical guide, resolved
to contribute its share in the movement. Then on Jan. 2, 1786 the Massa-
chusetts Gazette printed the following long but historically very important
announcement ^ ) .

We hear that the Musical Society in this town agreed, on the 20th of last month,
to perform a Concert of sacred Musick, vocal and instrumental, at the Chanel Church,
on Tuesday, the 10th day of this present month of January, for the benefit and relief
of the poor prisoners confined in the jail in this toA\Ti. and that the Musick, and Morning
Ser^'ice of the Church, are then to be performed as follows, viz.

As soon as the Church doors are shut, precisely at 11 o'clock in the forenoon of
that day.

I. That the Overture in the sacred Oratorio, called the Occasional Oratorio, com-
posed by the late celebrated ^Ir. Handel, be performed by all the musical, instrumental
band.

II. That the first, famous and justly celebrated Recitative, in the Oratorio of
the Messiah, composed by the inspired Handel, be sung, accompanied by the first
and second violin, the tenor and bass instruments. — The words, 'Comfort ye, comfort
ye my people' . . .

III. That the first Song in the same most sacred Oratorio, to be sung, accom-
panied by the proper instruments. The words, 'Every valley shall be exalted' . . .

IV. The Morning Service of the Church is then to begin; and after the Lord's
Prayer, and the four versicles following, then the Doxology, or Glory to God, — 'Now
unto the King eternal, immortal, invisible', etc. as set to musick by Mr. Selby, is to be
performed by all the voices, accompanied by the organ only.

V. That the Anthem from the 95th Psalm, in the usual ]\Iorning Ser\'ice of the
Church, 'O come let us sing unto the Lord', etc. be sung or said.

VI. That the 41st, 112th, and 146th be read as the proper Psalms for the day;
after each of which, the same Doxology, as set to musick by Mr. Selby, be performed
by all the voices, accompanied by the organ and all the instruments.

VII. That the 4th Concerto of Amizon, musica de capella, opa. 7 be performed
by the organ and all the instruments, as and for the Voluntary.

1) Copied from Brooks, Olden Time Music, p. 90 — 94.

18*

— 276 —

VIII. That the first lesson for the day, taken from the 4th chapter of Tohit,
from the 3d to the end of the 11th verse, with the 16th verse of the same chapter,
be read.

IX. Then that the Te Deum ... be chanted.

X. Than that the second lesson for the day, taken from the 25th chapter of Matthew,
from the 31st to the end of verse the 40th, be read.

XI. Then the Jubilate Deo, or, '0 be joyful in the Lord, all ye lands', is to be sung,
as and for an Anthem, by the voices, accompanied by all the instruments.

XII. That the Apostles' Creed be read.

XIII. Immediately after that Creed, the song from the oratorio of the Messiah
'The trumpet shall sound' ... is to be sung, accompanied by the trumpet etc.

XIV. Then the Versicles after the Creed, with the first Collect for the day are
to be read. And after the same.

XV. The song from the Oratorio of Sampson is to be sung . . . the words . . . 'Let
the bright Cherubims' . . .

XVI. Then the second and third Collects, the Prayer for Congress, and the Prayer
for all sorts and conditions of men, be read.

XVII. Then the second Organ Concerto of Mr. Handel is to be performed.

XVIII. Then the general Thanksgiving and the concluding prayers are to be read.

XIX. Mr. Selby will then play a Solo, Piano, on the organ; during which the
sentences in the Offertory will be read, the boxes at the same time being carried about
to receive the contributions and donations of the charitable and humane.

XX. Then 'the Prayer for the whole state of Christ's Church militant here on
earth' is to be read, and the Morning Ser^ace of the church is to end with the usual
concluding prayers and blessing.

XXI. Lastly, the musical band Avill perform a favourite overture by ]\Ir. Bach.
N. B. Tickets for this Charity, at three shillings each, as we are informed, will

be offered for sale in every part of the town.

We are further informed that all the ministers of all the several religious societies
and persuasions in this form, with Joseph Henderson, Esq. the High-Sheriff of the
County, Samuel Breck, Esq. and Thomas Dawes, Esq. Members of the to^\^l, Joseph
Barrell, Esq. Doctor Charles Jarvis and Samuel Henshaw. Esq. are chosen, by the
Musical Society, to be a committee, for the purpose of appropriating all monies, to be
raised by the sale of the tickets, and which may accrue from the donations and con-
tributions of the charitable and humane towards the support of this charity.

The first appropriation of the money, for the affording necessary cloathing, firing
and provisions to the most necessitious prisoners for debt.

We hope none will be backward in bestowing, according to their ability, for this
truly benevolent purpose.

It is almost commonplace to remark that such a liturgical-musical festival
like this cannot very well have been carried out in primitive musical sur-
roundings and to further insist, after all that has been said in this book,
that the musical life in our principal cities was far beyond the primitive
stage would be an insult to the reader. Still, this particular 'Musica spiri-
tualis' far surpassed what Americans were used to and this impression soon
found its echo outside of Boston. Keferring to the dates of receipt of several
communications from correspondents, the Pennsylvania Herald printed on
January 28, 1786 what we may call a fairly appropriate criticism of the
Boston festival and perhaps ■ other reports had a very stimulating effect, as
we remember, on the Selby of Philadelphia: Andrew Adgate. The Penn-

— 277 —

sylvania Heralds published its correspondence, headed "Boston, January 12"

as follows:

(19) On Tuesday last was performed at the chapel in this town, a concert of vocal
and instrumental music, for the benefit of the unfortunate and distressed prisoners
now lying in the jail of this county. — The church prayers which were read by the
rev. Mr. Freeman, were agreeably and juchciously intermix'd with the music, in such a
manner as to give reUef alternately to the reader and performers, and prevent the ear
of the auditor from being fatigued. The whole was conducted with the gi-eatest order
and decorum, saving a theatrical clap at the conclusion, which can only be imputed
to the pitch of enthusiasm to which the excellent overture of ]Mr. Bach wound up the
enraptured auditors. —

The vocal and instrumental parts were executed in a manner that reflects the highest
honour on the musical abilities of the gentlemen who composed the band. The church
was thronged with all classes of people, and we were particularly happy in seeing so
many of the softer sex present on the occasion; whom we cannot suppose otherwise
influenced than by the mild affections of humanity. —

To soften the calamities of our fellow creatures, and pour gladness in the heart
of the wretched; to clothe the naked, and set the prisoner free, are duties; which our
feeling as men. and our religion as Christians, require us to fulfil . . .

(20) A correspondent remarks that the doxology composed by Mr. Selby, gave
great satisfaction on Tuesday last at the Chapel church, and was only excelled by
his anthem, in which he has not disgraced the inspired, royal author of the 100 psalm.

(21) Mr. Selby's execution on the organ appeared masterly throughout the whole
performance, but more particularly so in the second organ concerto of Handel.

(22) The first recitative and the first song in the Messiah were sung as to have
done no discredit to any capital singer at the theatre in Covent Garden; but the song
of 'Let the bright cherubims in burning row, etc' in the opinion of several who had
heard the oratorio of Sampson at Covent Gardenhouse, was sung, as least as well, in
the Chapel Church, on Tuesday by our townsman, as they had ever before heard."

If proof be needed that William Selby really was the mo\dng spirit of
the Musical Society and therefore of this concert, it is furnished in the NB
of the announcement of his benefit concert on April 27, 17861) at Concert
Hall when

"among other select pieces and songs [were to be] performed, An Ode in honour
of General Washington, composed by Mr. William Selby — likewise, the favourite catch
of 'Hark the bonny Christ bell' . . .

N. B. The above mentioned concert is to be performed in consequence of a resolve
of the Musical Society, and the money arising from the sale of the tickets to be present :d
to Mr. Selby, for his singular services rendered the society.

Just as Andrew Adgate and the Uranian Academy were encouraged by
the success of their first to give a second "grand" concert, so were William
Selby and the Musical Society. Hardly a year had elapsed since the benefit
for those, unfortunate enough to be entombed in a New England county
jail, when the managers announced — evidently the fame of the Concert
Spirituel had travelled far — for Jan. IG, 1787 with the assistance of a
"band hired by them" 2) a 'Spiritual Concert for the benefit of those who

1) Boston Gazette, April 17, 1786.

2) Massachusetts Centinel, Jan. 10, 1787.

— 278 —

have known better days'. The full program was thus published in the
Boston Gazette^ Jan. 15th:

Charitable Concert. The following we are assured, Avill be the order of the several
musical performances, and of the service of the Chapel Church at the performance
of the Concert of Sacred Musick, to-morrow. fr ■ •;

1. The' 20th periodical overture, la Buona Figliuola, composed by Piccini, (the
last presto to be omited, instead of which will be introduced a celebrated march adapted
to the occasion.

2. Then the first, famous and justly celebrated Recitative in the oratorio of the
Messiah composed by the inspired Handel, to be sung by Mr. Ray, accompanied by
the first and second violin, the tenor and bass instruments. — The words 'Comfort
je, comfort ye my people' . . .

3. Then the first song, in the same most sacred oratorio, is to be sung, accom-
panied by the proper instruments. The words: 'Every valley shall be exalted' . . .

4. The Morning Ser\4ce of the church is then to begin — and after the Lord's
Prayer, and the four versicles following, then the Doxology, or Glory to God — 'Now
unto the King eternal, iinmortal, invisible', etc. as set to musick by Mr. Selby, is to
be performed by all the voices, accompanied by the organ only.

5. The Psalms adopted for the occasion, are then to be read ; after each of which
the same doxology, as set to musick by Mr. Selby, is to performed by all the voices,
accompanied by the organ and all the instruments.

6. A violin Concerto is then to be performed as and for the voluntary.

7. Then the first lesson for the day is to be read.

8. Then the Te Deum, or, 'We praise thee, o Lord' — is to be chanted.

9. Then the 2d lesson for the day will be read.

10. Then the Jubilate Deo, or 'O be joyful in the Lord' ... as set to musick by
Mr. Selby is to be sung as and for an anthem, by the voices, accompanied by all the
instruments.

11. Then the Apostle's Creed will be read.

12. Then a Solo from the Sacred oratorio of Jonah^), will be sung by Mr. Deverell,
accompanied by the organ, and all the instruments,- etc. — The words 'Out of the deep,
O God, I cry' . . . [two stanzas]

13. Then the versicles after the Ci'eed with the first Collect of the Day, are to
be read. And after the same.

14. Then from the Oratorio of Sampson is to be sung these words — 'Let the bright
cherubims in burning row' . . .

15. Immediately after which A.\ill be performed the Chorus* from Handel's Messiah
'Hallelujah, the Lord God omnipotent reigneth' . . .

16. Then the second and third collects, and the prayer for all sort and condition
of men will be read.

17. Then an Organ Concert to be performed by Mr. Selby.

18. Then the general thanksgiving and the concluding prayers are to be read.

19. Lastly, the musical band will perform a favourite Overture, composed by
Carlo Ditter.

* At the performance of this Divine Chorus, called by way of eminence the Thunder
Chorus, it is usual for the whole audience to rise from their seats, and be upon their
feet the whole time of the Chorus, in testimony of the humble adoration of the Supreme
Governor of the Universe, our great and universal Parent, and in honor of our blessed
Redeemer.

This time we need not look to Philadelphia papers for a full description

and contemporary report of the impression made by these festivals on the

1) S. Felsted.

— 270 —

public. All historical curiosity is satisfied by the report as printed in the
Boston Gazette of Jan. 22di) and it is exceedingly interesting to contrast
the succes d'estime of Selby as composer and the somewhat reserved opinion
of the merits of Dittersdorf's favourite overture with the enraptured ex-
stasies of the critic over "Handel! Handel! Handel!" and especially his
"Thunder Chorus":

Boston, January 22.

Last Tuesday was performed, at the Chapel Church in this town, the Spiritual
Concert for the benefit of those among us who have known better days. The Musick
began at half an hour after 11 o'clock, mth the Overture in the opera of La Buona
Figliuola ... in the march adopted on the occasion instead of the presto movements
of Piccini, the drums had a very pleasing effect. The overpowering pathos of Handel
in the first recitative of his Messiah, was excellently sung, and forcibly felt by every
musical ear present, Mr. Selby's Doxology . . . filled every ear with pleasure. —

The prayers of the chvirch were most agreeably intermixed with the musical per-
formances, and alternately relieved the gentlemen of the Musical Society and the auditory.
Mr. Arnold's Te Deum was inimitably sung, and Mr. Rea's distinct, sweet over-powering
countertenor voice, was eminently distinguishing in this part of the performance, as
in all others in which he bore a share: this Te Deum, we are assured, is infinitely more
musical and effecting than the common, sing song, half-squalling, half-reading Te
Deum usually performed in the cathedrals of England. —

The Jubilate Deo, or C. Psalm, set to musick by Mr. Selby, gave universal satis-
faction, the choruses in which are worth of admiration. — The Song from the oratorio
of Jonah, sung by Mr. Deverell, was beautifully affecting but Handel! Handel! Handel!
The song from his oratorio of Sampson 'Let the bright Cherubim, etc' sung by our
townsman, Mr. Rea, could not be excelled by anything but the Hallelujah Chorus in
the Messiah, in which there appears perfect illumination — the surprise and astonish-
ment of the audience, at the performance of this divine Chorus, cannot well be described,
especially at those parts where the drums so unexpectedly thundered in and joined
in the glorious Hallelujahs to the 'King of Kings and Lord of Lords, etc' Great delicacy
was shewn in directing this vast effort of genius, to follow the inimitable song in Sampson
'Let the bright Cherubim, etc' and this we are told we owe to Mr. Selby. In the organ
concerto this gentleman shewed gi-eat delicacy and execution. — The last overture,
composed by Ditter, w^as forcibly and well executed. The horns produced in this an
excellent effect.

We have only to lament that the very short notice of this well executed and bene-
volent entertainment and the present distressed situation of the towTi, with some other
concurring circumstances, prevented the church from being crouded, as was the case
last year.

As it may be of interest to compare our modern ways of managing

mows^re- affairs — and such this charitable concert was for the Boston of

those days — with the methods of yore, the instructions "to the public"

as printed in the Boston Gazette, also on Jan. 15th, may follow here:

The Public are hereby notified that the Concert of Sacred Musick to be performed
on the morrow at the Chapel Church, will begin precisely at half an hour after eleven
o'clock in the forenoon, — that one half of the South door will be opened at ten o'clock
(when the first bell will ring) for the reception of the audience; that no one will, or
can, be admitted without a ticket, that no change wall be given to those who may delay

1) Literally the same appeared in the Massachusetts Centinel, Jan. 17, 1787.

— 280 —

purcliasing tickets until they come to tlie church; that precisely at half an hour after
eleven o'clock the doors will be shut and fastened, when the bell will cease tolling; that
the pews no 1 and 2 at the upper end of the middle aisle, opposite to the reading desk
and pulpit, are reserved for the reverend the ministers of the town of all denominations,
and into which it is earnestly requested no other persons will attempt to sit.

Tickets for the charity, at 3 s. each, are sold at the Post Office ; by ]VIr. Burke,
at Concert-Hall; at Messieurs Green and Cleverley's Newbmy Street and by ]\Ir. Deverell
watchmaker, next door south of the Treasury, Marlboro-Street.

N. B. As the order of the musick and of the service of the church on this laudable
occasion is published in this paper, we advise our customers to take the papers with
them to the church, as a proper assistant.

On January 29th the Musical Society notified the public through the
Boston Gazette that it had appointed a committee consisting of gentlemen
of the clergy to distribute the monies collected by the sale of tickets^ amounting
to S 162 after deduction of all expenses. As this sum must have seemed
surprisingly small to all concerned, they also enumerated the concurring
circumstances which had prevented the church from being crowded as
in 1786:

The shortness of the notice given of the performance. — The scarcity of money —
The mihtary expedition and the call on the inhabitants for raising and equipping their
men with General Sheppard against ca. 2000 insurgents under Capt. Shays in the vici-
nity of Springfield . . .

Of course^ such concerts represented only the extraordinary events in
the career of both the Musical Society and Wilham Selby. Their normal
activity restricted itself to the usual musical meetings and subscription
concerts. It would appear from a request addressed in Sept. 1787 1)
to "those gentlemen who are desirous that the concert should be
carried on through the ensuing season upon the same terms it was
last winter" that the Musical Society first instituted such regular
entertainments in 1786. Unless proof is furnished to the contrary it
may be taken for granted that William Selby was the conductor of the
society during this and the season of 1787/1788. In that case it is plausible
enough that the members of the Musical Society turned out in full force
to show their appreciation on the night of Selby's benefit concert at Concert
Hall^ Sept. 10, 1787^). Had he not been the regularly appointed conductor
the subscribers to the Musical Society would hardly have been desired to
take notice in the Massachusetts Centinel, January 16, 1788 that their
next concert was postponed to Feb. 7th, as the hall on Thursday,
January 24th was to be appropriated to the benefit of Mr. Selby, when
there would be a "pubHc" concert vnih this program:

1) Massachusetts Gazette, Sept. 15, 1787.

2) Mass. Centenel, Sept. 8, 1787.

— 281 —

First Act.
Overture

A Double piece on the harpsichord
Song
Full piece

Second Act.
The Country Courtship, a musical entertainment. The characters, Dorus, Alexis
and Pastora.

The season lasted at least into March as the concert scheduled for March 6th
was postponed to March 13th, many of the performers being out of town^).
For the season of 1788 — 1789 the Musical Society agreed on six pubUc
performances at Concert-Hall for a limited number of subscribers^). Those
of the preceding year who desired to subscribe for these six concerts were
requested to send in their names so that the gentlemen who stood proposed
as new members could be admitted, should there be any vacancies. Strangers
could be admitted if introduced by a subscriber. Then, on Nov. 22d, the
pubHc was notified that the first concert of the series would be held on
Nov. 28th3). A continuance of these concerts under the auspices of the
Musical Society is doubtful, not only because such were not advertised in
1790 but also because it is at least possible that the Musical Society had
ceased to exist. Something to this effect may be inferred between the hues
of an advertisement in Massachusetts Gazette, March 14, 1789 when the
subscribers were notified that the amount of their subscriptions was abso-
lutely necessary to the defraying the expense of another concert!

On the other hand, there is evidence that in 1787 the Musical Society
no longer monopolized opportunities for lending their voices for charity as
on Sept. 22, 1787 the Massachusetts Centinel notified the public that the
proceeds from a Concert of Sacred Musick on October 4th would be appro-
priated to assist rebuilding the Meeting House in Hollis Street, destroyed
by fire

"agreeably to the generous intentions of the Musical Societies in this town who
have projected this concert".

The program is remarkable in so far as William Billings' name appeared

twice, whereas previously his music hardly ever was performed in public

concerts. The program reads:

Act I

10th Periodical Overture Filtz

Anthem — 'Except the Lord build the House' .. Billings

Anthem — '0 be joyful in the Lord' Selby

Organ Concerto

1) Mass. Centinel, March 4, 1788.

2) Mass. Centinel, Oct. 22, 1788.

3) Massachusetts Centinel, Nov. 22, 1788.

— 282 —

Act II

Anthem — 'O Lord God of Israel' Williams

_ Song from the oratorio of Sampson

Anthem — 'And I saw a mightly angel' Billings

Handel's grand Hallelujah Chorus from the sacred
oratorio, Messiah, accompanied with kettledrums.

William Selby not being mentioned as conductor of this co-operative
effort of the several musical societies of Boston, the contention that he was
in charge of the performance is, of course, a conjecture by way of elimination.
However, he certainly conducted a Concert of "Sacred Musick Vocal and
Instrumental" which the proprietors of Christ Church gave there on May 21,
17881) in the afternoon as it is distinctly said "under the direction of Mr.
William Selby" and with the generous assistance of the Musical Society.

By order of the vestry, Amos Windship and John Stoddard informed the
pubUc that the proceeds would be appropriated to lessen the expenses that
had arisen from the repairs of the church and particularly of the organ
and to secure also "the tower, which, if not very soon done, will be insuffi-
cient to support the bells it contains". The program reads:

First Part
Symphony

Song . . . 'In Paradise lost', sung by Mr. Brewer
Piece for Clarinetts and horn

Anthem, composed by Doctor Green, sung by j\Ir. Deverell
Full piece

Second Part
Organ concerto, performed by Mr. Selby
Song in the Messiah, sung by Mr. Rea
Violin Concerto

Song in Sampson, sung by IMr. Deverell
Symphony.

Whether any of the musical societies assisted, is not mentioned. Pre-
sumably not, as the only choral number on the program could very well
be rendered by a church choir, such as Christ Church possessed.

It was different when, end of 1789, George Washington came to Boston
during his famous inaugural tour through the States. Everybody vied
with everybody to show the illustrious general in what unbounded love
he was universally held and all party-strife and party-bickerings were dropped
to receive him and to entertain him with outbursts of gratitude and ad-
miration. A triumphal arch had been erected. Through this he was escorted
in a magnificent procession, in which a band was not missing, to the Senate
Chamber. - Thence the President passed through the Representatives'
Chamber to a Colonnade, erected for the occasion in the West-end of the

1) Massachusetts Gazette, May 20, 1788.

— 283 —

State House and composed of six large columns, fifteen feet high, and a
ballustrade hung in front with Persian carpets on which were wrought
thirteen roles, symbolising the thirteen States. As soon as the President
entered the Colonnade, he was saluted by three huzzas from the citizens
and by an Ode^) sung by a select choir of singers, with Mr. Rea at their head,
in the Triumphal Arch, adjacent to the Colonnade. After the ode was sung,
the procession passed the President and proceeded into Courtstreet, where
the whole were dismissed.

But these were merely the preliminaries to the festivities and though
perhaps originally no special musical entertainment adorned the plans in
honor of George Washington, it so happened that a few days later an op-
portunity arose to show him what Bostonians could do in the way of music.
On Oct. 14th the Massachusetts printed the following:

FOR PUBLICK ORNAMENT.
An Oratorio, or, Concert of Sacred ^Nlusick.
On Wednesday next, will be performed at the Stone Chapel in this to^-n, an Ora-
torio, or, Concert of Sacred Musick, to assist in finishing the Colonnade or Portico
of said chapel, agi'eeably to the original design.

Part the First

1. Full anthem — composed by Mr. Selby

2. The favourite air in the Messiah, (composed by the celebrated Handel)
'Comfort ye my people' — by Mr. Rea

3. Organ Concerto — by Mr. Selby

4. The favourite air in the oratorio of Samson (composed by the cele-
brated Handel) 'Let the bright Seraphim' — by Mr. Rea

5. Full anthem, composed by Mr. Selby

Part the Second
The oratorio of Jonah, complete, the solos by Messrs. Rea, Ray, Brewer
and Dr. Rogerson. The chorusses by the Independent Musical Society;
the instrumental parts by a Society of Gentlemen with the band of his
Most Christian Majesty's Fleet.
As the above oratorio has been highly applauded by the best judges, and has
never been performed in America-); and as the first performers of this country will
be joined by the excellent band of this ]Most Christian Majesty's squadron, the Publick
will have every reason to expect a more finished and delightful Performance than ever
was exhibited in the United States.

1) Under 'Castalian Fount', the Massachusetts Centinel in which this account
appeared, Oct. 28, 1789, printed on the same day the words of this 'Ode to Columbia's
Favourite Son'. The first stanza runs:

Great Washington the Hero's come
Each heart exulting hears the sound
Thousands to their Deliverer throng.
And shout him welcome around.
Now in full chorus join the song,
And shout aloud great Washington!
The President had to submit to seven stanzas of this awful stuff!

2) This was not correct, as "Jonah, an oratorio, composed by S. Felsted" was
performed at New York on June 11, 1788.

— 284 —

The musick to begin at half past 2 o'clock. Tickets at half a dollar each, may be
had at Dr. Winship's, Union Street — at B. Guild's Book Store, and at the Post Office
in Cornhill, and at J. Templeman's, W. Burley's and R. Russel's Offices in State Street.

This somewhat boastful announcement may be pardoned in view of
the fact that it probably was the first time in Boston's musical history
that a musical society ventured on the rendition of a complete oratorio,
even if it was only 'Jonah, an oratorio, disposed for voices and harps',
by the obscure Samuel Felsted^) who seems to have been better known
in America than in England. Probably we are near the truth in sur-
mising that again William Selby was the moving spirit and conductor of
the concert. However, on Oct. 21st, the day of performance the public
was notified that the concert was postponed for a few days and the sup-
position is plausible enough that the managers postponed the affair in order
to turn the benefit for the portico of Stone Chapel into a "pub lick ornament"
in honor of George Washington, just then in their midst. This is, indeed
certain, for on Oct. 27th one of the papers announced that the oratorio
would be performed in presence of the President of the United States and
that the concert would begin with a congratulatory Ode^) to the President
instead of Selby's full anthem. The words of this ode, written by a Mr.
Brown of Boston, were printed in the Massachusetts Gazette on Oct. 31st^).
George Washington was indeed to be congratulated if the composer, possibly
Selby, did not inflict such wounds on him as did Mr. Brown with this fearful
patriotic poetry:

Recitative

Behold the man! whom virtues raise

The highest of the patriot throng!

To him the Muse her hommage pays,

And tunes the gratulary song.

Air.
Illustrious Visitant! Design'd
By the Heavn's invincible decree
T'enoble and exalt the mind
And teach the nation to be free!
[Follow five more stanzas]

Now it is well known how heartily George Washington disliked such
apostrophes and a sigh of relief must have escaped him if this "gratulary
song" was not launched on his ears, for the indispositon of several of the first

1) Printed under this title in 1775 at London. A copy is in the British Museum.
(Eitner.) Of Felsted's hfe very little seems to be known and how obscure a musician
he was or at least has become, is evident from the fact that his name is not even men-
tioned by Brown and Stratton.

2) See Brooks, p. 97.

3) Words and music were subsequently published together. A copy of the ode
is at the Mass. Hist. Soc. (See my Bibliography.)

— 285 —

performers interfered with the well-meaning plans of the managers and
again the concert had to be postponed. However, as the President "honoured
the Stone Chapel with his presence to hear the concert of sacred musick"
on Oct. 27th several pieces were performed which merited and received
applause 1). At last, after the Massachusetts Centinel had contributed to
the mishaps by announcing a wrong date, the Oratorio was given on Decem-
ber 2d with the original program, an original poem delivered by Mr. Whit-
well and a brilliant illumination of the chapel^). It would be interesting to
know the public opinion on said occasion as recorded by some gentleman-
critic, but though the papers printed the full text of Felsted's Jonah, they
did not, to my knowledge, adorn their columns with an elaborate and up-
Ufting resume of the public impressions.

After this concert, no musical society is mentioned by name in connection
with further concerts, choral or instrumental, for about ten years, though
occasionally references to several musical societies may be found in the
papers^). Therefore undoubtedly such existed in Boston during the last
decade of the eighteenth century but it seems that they, for some reason
or the other, no longer played a prominent part in public. Certainly the
subscription concerts to be traced in 1790 and later were independent enter-
prises as not once a connection appears between them and those mysterious
concerts. Nor is it clear who was responsible for these concerts themselves,
about which exceedingly little is to be gleaned from the papers. For instance,
all the information I am able to submit for the season of 1790 — 1791 consists
in this that "the subscribers to the concerts" were notified on March 12th
in the Massachusetts Centinel that the sixth and last concert would be on
March 17th. Then on Oct. 19, 1791 the "members of the subscription
concerts" were requested to meet at Concert Hall on October 21st upon
particular business and by tracing such notices we find that again six concerts
were given during the winter of 1791 — 1792, the last on April 12th. The
supposition that William Selby must have been connected with these concerts
in some capacity is logical enough and the conjecture that he was the manager

1) Massachusetts Continel, Oct. 28, 1789.

2) Massachusetts Centinel, Dec. 2, 1789.

3) In Perkins and Dwight's History of the Boston Handel and Haydn Society
it is claimed (on p. 29) that the Independent Musical Society was founded in 1786
and that it took part in commemorating the death of Washington (Dec. 14, 1799) on
his first succeeding birthday. The sources of both dates are not mentioned and really
nothing goes to show their accuracy. The date of foundation might be correct if the
Musical Society and the Independent IMusical Society were identical, which is obviously
improbable. That the Independent Musical Society — I believe it had long ceased
to exist — took part during the 'Sepulchral Service' on Feb. 22, 1800 with Oliver Hol-
den's music is also very improbable as the minute report of Feb. 26th in the Columbian
Centinel mentions the "ablest choir of vocal masters we ever recollect to have heard",
but no Independent or any other musical society.

— 286 —

and conductor is corroborated by a notice to the subscribers in the Massa-
chusetts Centinel, March 17th headed: Mr. Selby's Concert and under the
same heading a continuance of these concerts was announced in the Colum-
bian Centinel, Sept. 29, 1792. The first was to be on Oct. 18th i) "the musick
to begin precisely at 6 and end at 8 o'clock — when the room [would] be
cleared for country Ranees". Presumably the series contained less than
six concerts for otherwise the subscribers would hardly have been informed
on January 30, 17932) ^j^^t a subscription paper was open at Mr. Vila's for
four additional concerts upon the same plan as hitherto conducted and
that if one hundred subscribers appeared the first concert would be on Fe-
bruary 7th. The entertainments of this series were to begin at 7 o'clock,
the country dances at nine and to end at 1 o'clock ! These data are meagre
enough, not once an allusion being made to the programs, a fact proving
convincingly the private character of the concerts, but at least they leave
no doubt as to the existence of subscription concerts during these years
whereas for the remaining years of the century subscription concerts may
be considered hypothetical in absence of even such meagre data in the
papers.

Quite in keeping with these doubts, based, of course, only on the files
I had occasion to examine, is the fact that from 1793 on, William Selby's
name gradually disappears from the papers. Now and then he would assis^
in benefits given by other musicians but these occasions became fewer and
fewer and to my knowledge th^ last benefit concert given for Selby himself
in conjunction with Jacobus Pick took place at Concert Hall on June 20,
1793 with the following program^) : ' '

The Overture of Henry IVtli*)

A French Song by Mr. Mallet . ' -

A Clarinet Concerto by M. Foucard

A French Song by Madame Douvillier

A Violin Concerto, by Mr. BouUay

An Italian Duetto, by Messrs. Pick and Mallet

A Flute Concerto, by Mr, Stone

La Chasse, composed by Hoffmeister

A Piano Forte Sonata, by Mr. Selby

A French Trio, by Madame Douvillier, Messrs. Pick and Mallet

A Duetto on the Harmonica, by Messrs. Pick and Petit

A Symphony, composed by Pichell

William Selby's career has carried us far beyond the Revolutionary War,

but in the case of Boston it would have been historically unwarranted, though

convenient, to break off the narrative before the battle of Lexington and

1) Columbian Centinel, Oct. 13, 1792.

2) ibidem.

3) Columbian Centinel, June 15, 1793.

4) Martini.

_ 287 —

to resume it after Lord Cornwallis' surrender at Yorktown because, of all
our principal cities, Boston, a few months excepted, remained undisturbed by
the movements and counter-movements of the opposing armies. That the
war interfered at first with the development of Boston's musical life, goes
without saying but already in 1779 we notice signs of a revival of the interest
in music other than in Billings' forceful battle hymn 'Chester' and that the
moving spirit of this re\'ival, at the very least from 1782 until 1793, was
William Selby I believe to have made an historical fact. Indeed, though —
and also because — his name is not mentioned with reference to the several
concerts from 1779 to 1782 there remains at least the possibihty of his con-
nection even with these entertainments. Consequently, as William Selby
was prominent for years before the war, Boston's musical history during
the last thirty years of the eighteenth century may be said to have centered
in the personality of this interesting and ambitious musician.

The first concert given during the war, was characteristic of the peaceful
conditions prevailing at Boston. It was announced for July 5, 17791) [^i
celebration of the Independence of America with an 'Ode, suitable to the
occasion', as principal number. It affords a curious glimpse into by-gone
times if we hear that the attendance of gentlemen performers at the rehearsal
of July 3d would be esteemed a favor. However, "the severity of the season
made it necessary to make large additions in the (Concert) Hall for the ac-
commodation of so large a company" as was expected and hence the managers,
with apologies to the public, saw themselves obliged to postpone the patriotic
concert to July 9th. Presumably other concerts were given between 1779
and 1782 but not until the latter year did I run across advertisements to
that effect. Then not less than four were given, one on February 21st2),
another on March Tih^) "by particular desire", the third on March 21st*)
with "Three English songs in the first act", (these three at Concert Hall)
and the fourth in Trinity Church on\pctober 3d^) for the benefit of the
poor in the Boston Aims-House. The overseers apologized for appealing
to the "well known humanity" of their fellow citizens and flattered them-
selves that a repetition of the offence would in future be removed by a more
punctual and competent supply to the treasury. But the most important
item is contained in the rather awkward announcement of the program,
proving, as it does, that Boston then possessed a musical society deriving
its name from that medieval genius and terrible inventor of the Guidonian
hand: Aretinian Society. The concert was plainly one of

1) Continental Journal, July 1, 1779.

2) Boston Evening Post, Feb. 16, 1782.

3) ditto, March 2, 1782.

4) Boston Gazette, March 18, 1782.
, 5) Boston Gazette, Sept. 23, 1782.

— 288 —

Sacred Music being a collection from Williams, Stephenson, Billings and others —
Also an interlude on the organ between each vocal piece, by Mr. Bellsted.
The Vocal music will be performed by the Ai'etinian Society.

The concerts advertised between 1782 and 1790, all being connected with
William Selby's career^ have already been recorded except one, with which
he probably had nothing to do. It was given on Oct. 9, 1788^) at the request
of a number of respectable characters for the benefit of Mrs. Smith who
together with her husband, "both lately from the Southward" had enter-
tained during the month of September fashionable Boston with dramatic
and lyric recitations interspersed with songs, so-called 'Moral Lectures'. As
Mr. and Mrs. Smith's connections called them to Europe, they hoped for the
patronage of a generous public when presenting the following "vocal parts" :

1. An Ode on his Excellency Gen. Washington

2. The song, 'Dauphin of France'.

3. The air, 'Lads of the Village'

4. Advice to the Fair

5. Bright Phoebus, an admired Hunting song

6. A New Sea song

7. The admired song of 'The Gipsies'

8. Major Andre's Farewell

9. The admired song of 'Tallio' [!]

10. The Ballad dialogue

11. Lark's shrill notes.

On Sept. 16, 1790^) a benefit concert was given at Concert Hall for
Mr. Oliver Barron, "one of the unhappy men who were cast away on Grand
Manan, by which accident he had the misfortune to freeze to such a degree
as to be under the necessity of having them cut off which has rendered him
unable to support himself". Neither of this nor of a concert given on Dec. 21,
1790^) at Stone Chapel is any reference made to the program but the latter
was intended for the benefit of no less a man than William Billings. He
was just then at the zenith of his career. His 'New England Psalm Singer'
of 1770 and his 'Singing Master's Assistant' of 1778 and later collections
of his hymns and psalm-tunes had attracted — not for their musical grammar,
which was conspicuously absent, but for the undeniable spark of something

1) Massachusetts Centinel, Oct. 8, 1788. The following ''criticism''' of one of Mr.
and Mrs. Smith's Moral Lectures will surely prove amusing reading. On Sept. 12th
the Mass. Gaz. had this to say:

"At Concert Hall last Wednesday eA^ening, was performed by INIr. and Mrs. Smith,
lately from the Southward, before a lai-ge collection of gentlemen, and a few ladies,
some of them of the first fashion, and in gorgeous attire, a variety of scenes, selected
from the most celebrated plays, both tragick and comick. intermixed with well chosen
prologues and epilogues; the whole enriched by a variety of airs, duets, etc. . . . The
audience were highly entertained, and the hall shook with their plaudits. The songs
Avere sung in a stile which discovered, as well as an harmonious voice, a delicacy of
taste, which Apollo himself might envy ..."

2) Columbian Centinel, Sept. 8, 1790.

3) Columbian Centinel, Dec. 15, 1790.

— 289 —

kin to originality and individuality — attention to his name wherever
psalms were sung in the Northern and Middle States and hardly a single
psalm-tune collection by other American psalmodists of that period is to
be found in which Billings' Muse does not preminently figure. In short, his
name and fame resounded in the remotest church choir and so-called singing
schools and without doubt he was the most popular composer in his days.
Yet Billings, and this will cause surprise, was in rather reduced circumstances,
for a correspondent in the Columbian Centinel Dec. 8, 1790 expressed his
satisfaction

"in hearing that a number of benevolent characters are determined to bring for-
^^•ard a Concert of Sacred Musick for the benefit of Mr. William Billings of this town —
whose distress is real, and whose merit in that science, is generally acknowledged"

and the announcement of the concert closed with these significant remarks :

"The pieces to be performed will consist of a great and, it is expected, a pleasant
variety, and whilst the charitable will rejoice in this opportunity to exercise their bene-
volence, the amateurs of musick, will no doubt be abmidantly gratified.

The heart that feels for other's woes,
Shall find each selfish sorrow less.
That breast M'hich happiness bestov/s
Reflected happiness shall bless.

For the honor of Boston we hope that a sufficient number of tickets
at 2 shillings each were sold to be of substantial benefit to Gov. Samuel
Adams' proud but poor friend. Still, if we remember that Billings, born
at Boston Oct. 7, 1744 had still to live almost ten years until he died on
Sept. 29, 1800, we cannot but regret that the last years of this remarkable
man should have been spent in poverty. Remarkable not only for his
musical naivite, enthusiasm, latent talent and amateurish utterances, but
also in appearance. If Billings, "somewhat deformed, blind of one eye, one
leg shorter than the other, one arm somewhat withered ; and . . . given to the
habit of continually taking snuff" i) attended the testimonial concert, we
may feel sure that Bostonians looked with pity and sympathy on this
tanner-musician.

To dwell on the "concerts of vocal musick of the most fashionable songs
and duets" as given repeatedly by Mr. and. Mrs. Solomon, "vocal performers
from the Southward", at Concert Hall in the summer of 1791 is unnecessary
as they belonged to the category of Moral licctures, Spectaculum Vitae, etc.
The fashionable songs and duets and the name of concert were merely ve-
hicles to force drama and opera on the public in a form against which the
blue-laws of 1750 were powerless. To the same category belonged the

1) See Ritter, Music in America, 1895, p. 60. In spite of his sneers at Billings',
amateurish utterances, Ritter's description of Billings and his ambitions will give
every impartial raeder the impression that this Yankee was a very forceful character.

Sonne ck, Early Concert Life 19

— 290 —

"grand concert" under tlie direction of Alexander Reinagle on Oct. 9, 17921)
after which was to be given "a musical entertainment called the Poor Soldier
delivered" by such well-known actors as Harper, Morris and Mrs. Solomon.
Finally the antediluvian law against theatres was repealed and at last
Bostonians were at liberty to enjoy drama and opera. This change had its
effects also on the concert-life of Boston and it requires only a very super-
ficial knowledge of the history of drama at Boston to notice these effects
in many of the programs, submitted in the following pages, as from now
on until the end of the century the vocalists and members of the orchestras
of the several theatrical companies that invaded Boston, came in for a large,
if not the largest, share of the concerts given.

Faint signs of the new era already appear in the program as offered by
Mons. Jacobus Pick for his benefit at Concert Hall on Nov. 27, 1792^):

A Grand Symphony, composed by Haydn
Song, by a lady

A Sonata on the Piano Forte, by a young hxdy
A Flute Concerto, by a Gentleman an\ateur
A Song, by Mons. Pick
A Grand Symphjn3% composed by Pleyel
The Song of Bellisarius, by Mr. Powell
A Grand Overture
A Grand Symphony, by Fils
Song, by a lady

A Hautboy Concerto, by Mr. Stone

A Quintetto, composed by Pleyel, and performed by the Gentle-
men amateurs of Boston
Several pieces on the Harmonica, by Mons. Pick,
A Grand Overture.

The Subscription to be one dollar — each subscriber to be entitled to one lady's
ticket.

Theatrical influences are still more unmistakable in the program as an-
nounced for the benefit of Messrs. Petit, Boullay, Mallet, Foucard and
Madame Douvillier at Concert Hall on May 15, 1793^)

First Part.
A Grand Overture of Henry Fourth*)
An Italian Song by Mr. Mallet

Clarinette concerto Mr. Foucard

An English Song Mr. Powell

1) Columbian Centinel, Oct. 6, 1792.

2) Columbian Centinel, Nov. 21, 1792. From the same paper, Feb. 23, 1793 when
Mons. Pick expressed his desire to teach "the principles of vocal music by note" and
nearly all orchestral instruments, we learn that he had "made the science of music
his study at the Academy of Bruxelles".

3) Columbian Centinel, May 11, 1793. This concert had originally been an-
nounced for March 27th but was postponed.

4) Martini.

— 291 —

Violin Concerto, with four known tunes .. .. Mr. Boullay

A French Song Mad. Douvillier

A Grand Symphony

An ItaUan Duet Messrs. Pick and Mallet

Second Part.
Grand Overture, INIusic of ^Ir. Gretry

Song, by Mi: Pick

Quartetto, by Messrs. Petit, Boullay, Foucard and Mallet i)

An English Song Mr. Harper

Violin Concerto Mr. Petit

With one, more curious than notable, exception all the other concerts
of 1793 were given by the same gentlemen in form of benefits. Monsieur
Petit had his on May SOth^)^ Monsieur Louis Boullay his on June ISth^) and
again on November 14th (postponed from Oct. 31st)*), Monsieur Mallet on
Nov. 29th5), Monsieur Jacobus Pick again on Dec. 12tli6) and likewise Louis
Boullay on Dec. 26tli'^). As this was announced as the last, the concerts
formed practically a series of benefit concerts at Concert-Hall by subscription
with programs strikingly differing from those of former years in combination,
taste and tendency. Clearly a wedge was being driven into the standards
of Colonial Times and the era of cosmopolitanism was fast dawning even
in Boston. The "Distribution" was this:

MAY 30, 1793
First Part.
Grand Overture, musick of Haydii

An Italian Song Mr. Mallet

Clarinet Concerto Mr. Foucard

An Italian Song Mr. Pick

Quartetto (by Pleyel) Messrs. Petit, Boullaj^

Foucard and Le Roy

1) Of Francis Mallet, who was destined to play a prominent part in Boston's
musical life General Oliver says in his 'First Centenary uf the North Church Salem'
(see Brooks, p. 167):

"Monsieur Mallet was a French gentleman of much respectabiUty who came to
this country with Lafayette and served in the army of the Revolution to the end of the
war. He then settled in Boston as a teacher of music, declining to receive any pension.
He was among the earliest publishers of music in Boston, the friend and business partner
of the celebrated Dr. G. K. Jackson and predecessor of Graupner, the famous double
bass player, whose music store was in Frankhn Street."

To this may be added that Mallet in 1798 is mentioned as organist to the "Rev.
Mr. Kirkland's congregation". It is also clear that the biographical note in my Biblio-
graphy is a trifle incorrect as Mallet settled in Boston at least as early as 1793. Still
I doubt that he came to Boston immediately after the war. It is more probable that
he came to the United States as a refugee from Hispaniola.

2) Columbian Centinel, May 25, 1793.

3) Col. Cent. June 12, 1793.

4) ibidem, Oct. 30, Nov. 13. 1793.

5) ibidem, Nov. 20th.

6) ibidem, Dec. 7, 1793.

7) ibidem, Dec. 25, 1793.

19*

— 292 —

A French Song Mad. Douvillier

Violin Concerto Mr. BouUay

An English Song Mr. Powell

A Sonata and a Song with accompaniment of guitar Mr. Le Roy

An Overture Musick of Gretry

Second Part

A Concertant Symphony for two violins and a tenor Messrs. Petit,

Boullay and Le Roy

An English Song Mad. Placide

La Bataille de Praguei), ujwn the pianoforte nnd

and English Romance Mr. Mallet

An English Song Mr. Harper

A Violin Concerto Mr. Petit

A French Trio Madame Douvillier

Messrs. Pick and Mallet
End of the Concert, the Overture of Henry the IVth^)
Mr. Petit will neglect nothing for the execution of the music.

JUNE IS, 1793

First Part

Grand Overture, D'Iphigenia M. Gluck

An Itahan Song Mr. Majlet

Clarinette Quartetto with variations M. Foucard

French Song Mad. Douvillier

Sonata [on the] Pianoforte Mr. Mallet

English Song Mr. Powell

Violin Concerto Mr. Bovillay

An English Song Mrs. Mechtler

Second Part
Grand Simphonia

An Italian Song M. Pick

Concertant Simphonia Messrs. Petit, Boullay, and

Le Roy (Amateur)

An English Song Mad. Placide

Violin Concerto M. Petit

An English Song Mr. Harper

A Grand Overtui-e

NOV. 14, 1793

1st Act
Grand Overture
French Song

A Quartett, by Messrs. Boullay. Pick, Mallet and an amateur
Song, by Mr. Pick
Violin Concerto by Mr. Boullay
A Grand Symphony

1) Kotzwara.

2) Martini.

^ 203 —

2cl Act
Grand Overture
Flute concerto, by Mr. Stone
Duet on the Fiddle and bass, by Mr. Bonllay
Fortcpiano sonata, by Messrs. Selby and BouUay
Several airs with variations, I\Ir. Boullay
A Duet Song, by Messrs. Pick and Mallet
A Finale

NOV. 29, 1793
1st Act.
Grand Symphony, composed by the celebrated Haydn
Italian Song, by M. Mallet
Quartette of Airs, Avith variations, by an amateur, Messrs. Boullay,

Pict & Mallet
A Duet on clarinets
French Song, by Mr. Pick
Quartette on the Fortcpiano.

composed by Pleyel, by M. ]\Iallet & amateurs
Overture of Henry TVth.i)

2d Act.
Grand Symphony, of Pleyel
Flute Quartette '^
Violin Concerto, by M. Boullay

Overture of Iphigenia^) on the Forte-Piano and an English Air, by M. Mallet
Quartette of Pleyel, Concertante by three amateurs and M. Mallet
Italian Duet, sung by Messrs. Pick and Mallet
Finale, of Hoffmeister, with a hunting Air on the horn, by M. Pick

DEC. 12, 1793
1st Part
A grand Symphony composed by Pichel
A French Song, by :Mr. ^lallet
Hautboy Concerto, by Mr. Stone
An Italian Song, by Mr. Pick (with an Hautboy accompaniment)

2d Part
A grand Overture
A French Song with the accompaniment of the Spanish guitar and violin,

by two amateurs
A Violin Concerto, by Mr. Boullay

A Clarinet Concerto, by Mr. Granger, Boullay, Mallet and Pick
The Overture of Henry IVth3)
A French Duetto, by Mr. Pick and Mallet

A Sonata on the Harmonica with several known airs, by Mr. Pick
A Grand Symphony, composed by Pleyel

• DEC. 26, 1793
1st Act
Grand Symphony
An Italian Song, by M. Pick
Quartett, by M. Boullay and amateurs

1) Martini.

2) Gluck.

3) Martinis

~ 29i —

Song, by M. Mallet

Flute Duetto, by an amateur and a professor

Violin Concerto, by Mr. Boullay

A grand Overture of Iphigenia, composed by Gluck

2d Act.
Grand Overture, composed by Aiden [Haydn!]
French Song, by M. Mallet
Varied airs, by M. Boullay

French Song, accompanied with a guitar, by an amateur
A Violin Concerto, by M. Boullay

To these concerts must be added the joint benefit of Messrs. Boullay,
Pick and Mallet on Oct. 22di) and a concert of sacred music, held at the
Universal Meeting House, for the benefit of Master Peter Dolliver, organist
of that church, on July 4, 17932). The date speaks for itself and the manner
in which Master Dolliver's impresario announced this patriotic concert will
afford a few moments of amusing reading :

THE DECLARATION OF INDEPENDENCE.

At the Universal Meeting House, to-morrow, July 4, precisely at 6 o'clock in the
morning. A wish, not to intrude on the various services of this justly celebrated Day,
prompted to the above early hour, when those persons who please to attend, may
have an opportunity of being gratified, without immediately interfering with the
serious business, or the innocent pleasure of the day.

A celebrated band of singers, eminently distinguished for their accurate know-
ledge in the science of vocal harmony, having generously offered their assistance, on the
present occasion, a much admired Ode to Independence [by William Selby] will open
the performance. A momentary pause at the 120th line of the poem, will be succeeded
by an Ode to Freedom, generally supposed to have been composed by Delia Crusca, and
allowed to be unrivalled in the compass of language. A second momentary rest will
be made at the 234th line, and afford room for the introduction of 'Columbia, Columbia,
to glory arise' ^vl•itten by the animated and animating Dr. Dwdght. At the conclusion
of the 360th line, an original Anthem, of the high Hallelujah metre, and never before
published, will be sung, accompanied by instruments.

Concluding Anthem, comjjosed for Tlrursday Morning, July 4, 1793
Hail! The first the greatest blessing
God hath giv'n to Man below

Surprisingly few concerts were given during the year 1794. We cannot
be far from the truth if we see in this the direct or indirect influence of
Boston's first regular theatrical season at the new Federal Street Theatre
under the management of Charles Stuart Powell after the repeal of the anti-
drama law and this influence on the concert-life is only too noticeable during
the remaining years of the century. The company played from Feb. 3 to
July 4 and during these five months not a single concert has come to my
notice. Nor were such given during the latter part of the year, the company

1) Columbian Centinel, Oct. 19, 1793.

2) Col. Cent. July 3, 1793. The concert was postponed from June 25th.

— 205 —

resuming its unsuccessful career in Boston middle of September. On]y
during the summer-months, concerts seem to have been given. Probably-
more would have been announced had not Boston just then been visited
by a conflagration which naturally enough temporarily stifled the slumbering
enthusiasm of the afflicted city for concerts and other pubKc entertainments.
For July 10, 1794i) a Mr. Nelson, member of Powell's company, adver-
tised a concert plainly in imitation of Vauxhall entertainments though it
took place at Concert-Hall. He and Messrs. Bartlett and CoUins sang such
popular songs as 'Sweet Poll of Plymouth', 'When Phoebus the tops of the
hills does adorn', 'The Heaving of the lead', 'Poor Jack', 'Alone by the
light of the moon' and the trio of ' Poor Thomas Day' . Of a different character
was the program offered by Mrs. Pownall on July 22^) for her benefit at
the theatre, Avhich the trustees, not with out being subjected to narrow-minded
censure, had generously put at her disposal. The program, in which Mrs.
Pownall, as on other occasions elsewhere, appeared as composier, reads:

Act 1

Overture Haycbi

Song 'Advice to the ladies of Boston, composed and to

be sung, by Mrs. Pownall

Roxelane Haydn

Song 'A Soldier for me' Mrs. Pownall

Sonata, on the Piano Forte Mr. Selby

Act II

Concerto on the Violin M. Boullay

A Cantata called 'The Happy rencontre, or Second

thoughts are best', composed and sung by Mrs. Pownall

Symphony Pleyel

Song 'Sweet echo', by Mrs. Pownall

Accompanied on the flute, Mr. Stone

Act III

Concerto on the Flute Mr. Stone

Air with Variations Mr. Boullay

Song 'Tally Ho', in the character of Diana, huntress

of the woods Mrs. Pownall

Grand Symphony Hoffmeister

Mrs. Pownall had headed her announcement "for one night only" but
she met with such a liberal patronage that she resolved to engage the theatre,
by particular desire of many ladies and gentlemen who attended the first,
for a "second and last" concert on August 1st 3). She had selected this
pleasing program:

1) Columbian Centinel, July 9, 1794.

2) Columbian Centinel, July 19, 1794.

3) Columbian Centinel, July 30, 1794.

— 296 —

Act 1st.
Overture

An Irish ballad 'Killarney is a charming place' .. Mrs. Pownall
Symphony

Washington, a song v/ritten by Mrs. Pownall
Full piece
'Pauvre Jacques', French rondeau, Mrs. Pownall

Act 2d.

"Tlie Lark's shrill notes', composed by Carter .. .. Mrs. Pownall

Piece [Full piece?] Stamitz

'Jemmy of the Glen', wTitten and composed by .. Mrs. Pownall

Concerto BouUay

'A Soldier for me' (by desire) Mrs. Pownall

Act 3d.

'Sweeth Poll of Plymouth' Mrs. Pownall

Concerto Stone

'The Primroses' Mrs. Pownall

Symphony

'The Nabob', a cantata Mrs. Pownall

Full piece

An Occasional Address, written by I\Irs. PownalU)

In the meantime, on July 31st, the city was visited by the conflagration

mentioned and Mrs. Pownall's concert could not take place. The date

was changed to August 3^) and whatever opinions the more puritanical

Bostonians held of the morals of plays and players, they cannot have failed

to read with a blush and perhaps with doubts as to these very opinions,

Mrs. Pownall's announcement:

To afford some alleviation to these accumulated distresses, Mrs. Pownall has
postponed her intention of a concert for her own emolument, as advertised in Wednes-
day's Centinel, and will appropriate the receipts of the evening to the relief and accom-
modation of those whom the merciless ravages of the most destructive of elements
have reduced to the necessity of throwing themselves for redress into the arms of their
fellow citizens.

With regret Mrs. Pownall commented after the concert on the "thinness"
of the house netting only 200 dollars "and attributed this disappointing
result of her generosity "to the heat of the weather and the recent calamity"^).
It was a fair indication of what she might expect from her own benefit
concert, but an opportunity for this did not arise, fortunately enough for
her. Mrs. Pownall inserted on the same day, on which she made the finan-
cial results of her charity public, this amiable and polite card:

Mrs. Pownall presents her best respects to the citizens of Boston, and regrets an
engagement that deprives her of the happiness of a longer visit ; — but while she laments
the necessity of relinquishing the concert she had postponed, she flatters herself Avith
the pleasing anticipation of a second tour to this delightful part of America.

1) This address made part of the first act after the postponement.

2) Columbian Centinel, Aug. 2, 1794.

3) Columbian Centinel, August 9, 1794.

— 297 —

If only 200 dollars were netted for the victims of the conflagration, it
nia}^ well be doubted if Mrs. Jacobus Pick covered expenses when she, re-
gardless of the depression caused by the fire, announced a benefit concert
at Concert Hall for August 28 1) at one dollar a ticket with the folio wng
pieces and possibly she even found herself obliged to desist from giving it:

1st Part.

A grand Symphony by Pcpichell [Pichl]

Song by Mrs. Pick

Flute quartetto by An amateur etc.

Song by Mr. Pick

Overture to the Deserter^)

Song by Mrs. Pick

Chace [La Chasse] by Stamitz, the horn part by Mr. Pick

2d Part.
Overture of Blase Babet^)

Italian Duetto, by Messrs. Pick and Mallet

A Violin Concerto by Mr. BouUay

Song by Mrs. Pick

Overture

Duetto by Mr. and Mrs. Pick

Several airs on the Harmonica by Mr. Pick

The Battle of Ivri*)

The first concert of the year 1795 brought into prominence "a deserving
youth" who

"Tho 'he mourns a prison'd sense
Has music in his sour's)

This youth was none other than the blind Dr. John L. Berkenhead who
in 1796 became organist of Trinity Church, Newport R. I. and continued
in that position for eight years^). For his benefit was performed at the
Universal Meeting House a concert of sacred music on January 6, 1795.
The program was thus announced:

To commence with a Symphony on the organ, accompanied with other instru-
ments.

1) Columbian Centinel, Aug. 23, 1794.

2) Dibdin or Monsigny.

3) Dezede.

4) Martini.

5) Columbian Centinel, Jan. 3, 1795.

6) Brooks, p. 56 Avhere an amusing anecdote is told of Berkenhead. On his way
to church he would indulge at his friend John Frazer, the schoolmaster's house, in a drop
of old Scotch rye. After one of these visits, he managed to play a wTong tune. The
clerk called out from the desk "JNIr. Birkenhead you are playing a wrong tune", where
upon blind John L. pulled the curtain apart and called the clerk a liar. The vestry,
greatly shocked by this reply, in their further employment of the doctor, who knew
a good thing even if he could not see it, put in a proviso "during good behaviour and
punctual attendance".

— 298 —

Dedicatory anthem will follow
Next a prayer

Then select pieces, collected from approved authors, with an Ode, composed for
the occasion, and an Exordium corresponding therewith, concluding with Handel's
celebrated Hallelujah chorus.

Bills of the pieces will be put into the pews. Floor tickets, 25 s. Gallery tickets,
1 s 6

This was followed by the concert mentioned previously in connection

with Josiah Flagg's career. It seems that his widow was in very distressed

circumstances, owing in part to some serious misunderstanding with her

son, the surgeon-dentist Dr. Josiah Flagg, junr. Hearing of this, the flutist

Stone conceived the idea of enlisting public sympathy in her behalf by

means of a concert on January 31 at Concert Hall. In this he met with

the approval of a gentleman who signed himself C. P., evidently Charles

Powell, the theatrical manager, and who assisted in making the appeal

urgent by requesting the editor of the Columbian Centinel to insert a long

poem, dated, Boston, January 29^ 1795 in which the hero, or rather the

villain, was Mrs. Flagg's "miscreant son". The editor, of course, hastened

to comply with the request and the poem was printed on January 31. The

poet, leaving to an "abler pen" the task to "expose his crimes"

.... To drag forth his Gothic deeds to open day —
Shew how to every sense of feeling lost
He could the misery of his parents boast"

appealed to his fellow-citizens to

Stretch forth, ye wealthy souls, the liberal hand,
And join to stimulate the Ingenious Band
The glorious theme propos'd by Stone espouse.
And ling'ring want to cheery hopes arouse."

We certainly do not feel grateful to Mr. C. P. for his wretched poetry but
we are under obligations to him for naming in a footnote the "ingenious
band". It was 'The Society of the Sons of Apollo', evidently a musical
society, of which, however, nothing further is known to me. This ingenious
band, together with members of Powell's theatrical comj)any, and John
L. Berkenhead performed the following lengthy and rather miscellaneous
program!) :

Pakt 1st.

Symphony Haydn

Flute Concerto Mr. Stone

Song 'Blow, blow, thou winter's wind' .. .. Mr. Bartlett

Quartetto on the Clarinet f ■

Glee 'Here's a health to all good lasses'.. .. Messrs. Jones, Collins and

Hipworth
The Demolition of the Bastile on the harpsi-
chord or Piano Forte, by Mr. Berkenhead

1) Columbian Centinel, Jan. 28, 1795.

— 299 —

Part 2cl.
Grand Overture

Song 'Adieu, adieu, my only life' Mr. Jones

Violin Concerto Mr. Mallet

Song 'Washington's Counsel' IMr. Clifford

Glee 'Three flutes'

Duet 'The Stag thro' the forest' Messrs. Bartlett and Collins

Part 3d.
Full piece

Duet on the Clarinet Messrs. Stone and Granger

Song 'Dear Nancy I've sailed the world all

around' Mr. Clifford

Grand Lesson by Hook Mr. Berkenhead

Song 'Come thou Goddess fair and free' .. .. Mr. Bartlett
Grand Finale.

The proceeds amounted to one hundred and two dollars which — the
Columbian Centinel on February 4 said —

"considered the disadvantages unavoidably attending the business, must be con-
sidered as handsome. The thanks of the friends of humanity are due to Mr. Stone,
and the gentlemen who assisted in the Concert, for their effort to relieve a suffering
and deserving family. The assembly was brilliant and the performance highly satis-
factory."

The Avidow Elizabeth Flagg and daughters, however, waited until middle
of April Avith the expression of their gratitude, at the same time informing
the public and their friends that they "carried on the business of riveting
and mending China and glass, and needle work of all kinds".

On the same day, April 15th, Mr. Berkenhead announced a second
benefit concert to be held at the assembly room of the New Theatre on April 23
and subsequently the Columbian Centinel printed the program in which
again his 'Demolition of the Bastile' appeared:

Part I

Grand Symphony Haydn

Song 'Ploughman turned Sailor," Mr. Bartlett,

accompanied by the grand Piano Forte by Dr. Berkenhead

Flute Concerto Mr. Stone

Glee 'Here's a health to all good lasses' .. .. Messrs. Jones, Collins

and Hipworth
Sonata on the grand Piano Forte, composed by
Dr. x\rnold, and performed by Miss Doliver,
a young lady of 9 years of age.
Song 'Old Tom Day'

Carelia Song Dr. Berkenhead

Song 'From night until morn' Messrs. Collins and

Hipworth

Part II

Demolition of the Bastile, on the Grand Piano

Forte Dr. Berkenhead

Song 'Cottage Maid' Miss Dohver

— 300 —

Overture of Henri IVthi)

Song 'Learned pig' Mr. Jones

Lesson on the Piano Forte Dr. Berkenhead

Violin Concerto Mr. Mallet

Song 'For England when with sorrowing gale' Mr. Bartlett

Overture by Vanhall Dr. Berkenhaed

Song 'Wedding day' Mrs. Hellyer

Part III.
Grand Symphony

Song 'Flowing can' Mr. Jones

Clarinet Concerto Mr. Granger

vSong 'Hush every breeze' Mrs. Hellyer

Grand Lesson on the Piano Forte Dr. Berkenhead

Song 'Maria' Mrs. Hellyer

Grand Lesson Dr. Berkenhead

Song "Bonny Will' Mrs. Hellyer

Finale.

This concert was followed on June 18 2) by a joint benefit for Messrs.
Mallett and Jones at Concert Hall but though they had both repeatedly
stepped forward in charitable entertainments and notwithstanding their
exertions during the season they were considerable losers on the occasion,
as a correspondent to the Columbian Centinel indignantly remarked on
June 24. The few lovers of music, how^ever, who attended were highly
pleased vnth. the performance of the program, again adorned by the 'De-
molition of the Bastille':

Part I
Grand Overture by the celebrated Gretry
Favourite Air, by Mr. Bartlett

Duetto on the German flute Mr. Stone and amateur

Song 'Bachelor's Hall with accompaniments'.. Mr. Hipworth

Hautboy Concerto Mr. Stone

Song 'Hush every breeze' Mrs. Hellyer

Demolition of the Bastille Mr. Berkenhead

Catch 'How great in the pleasure' Messrs. Hipworth, Jones

and Collins

Part II
Full Piece

Song Mr. Collins

Violin Concerto Amateur

Song 'The Ploughboy's escape' Mr. Jones

Duetto on the Clarinet Messrs. Stone and Granger

A few select Airs, by Amateur of this town

Grand Concerto on the Piano Forte .. .. Mr. Berkenhead

Song Mrs. Hellyer

Glee in the Mountaineers^), etc. ., Messrs. Collins, Bartlett

and Mallet.

1) Martini.

2) Columbian Centinel, June 17, 1795.

3) Arnold.

~ 301 -^

In the meantime Powell's company had failed and Colonel Royal Tyler^
the author of 'The Contrast', who had been master of ceremonies, assumed
the management of the theatre. He re-engaged part of Powell's company and
succeeded in securing part of Hallam and Henry's Old American Company
and with this strong combination he re-opened the theatre on November 2.
Thus it happened that Mrs. Pownall's "pleasing anticipation of a second
tour to this delightful part of x\merica" came true. Well knowing that her
duties at the theatre would be too arduous for a division of energy between
opera and concert, she hastened to hold a benefit before the theatre opened.
It was given on October 7. at the theatre and evidently was very successful
for Mrs. Pownall felt sufficiently encouraged to add two other benefit con-
certs in surprisingly rapid succession as her "third and last night" was
announced already for October 13 1). In the first, Bostonians received a
glimpse of a prodigy nuich younger than Miss Dolliver, it being Felix Pow-
nall's first attempt in public, which we may well believe as this young
gentleman was only four years of age. The "selections" contained as further
'pillar an americanisod version of Kotzwara's 'Battle of Prague' which, we
are told, still raged on both sides of the Atlantic as late as 1850:

Act I

Song (by desire) 'iSoldior for nic' Mrs. Pownall

Concerto Violin Mr. Bergmann

Duett 'The Way worn travellers' from the

Mountaineers, by the Misses Wrightens-)

Solo Flute Mr. Stone

Song 'Little FeUx is your name', by Felix

Pownall, a child only four years of age,

being his first attempt in public.

Act TI

'Sweet echo', by Mrs. Pownall, accompanied

on the flute by Mr. Stone
Battle of Prague (on the pianoforte, with accom-

panyments) consisting of a Slow march.

2. Words of command, first signal Cannon.

3. Bugle horn for the cavalry and second
signal cannon.

4. The trumpet call. 5. The General attack.
6. The Attack with swords. T.ThcLightdra-
gons advancing. 8. Trumpets of recall. 9.
Cries of the wounded. 10. Trumpet of vic-
tory. 11. President's march. 12. Turkish

music. 13. Finale Miss M. A. Wrighten

Song 'My Henry swore at his parting'.
Words by a gentleman of New York and

music by Mrs. Pownall

1) Columbian Centinel, Oct. 3, 7, 13, 1795.

2) Arnold. Daughters of Mrs. Pownall.

— 302 —

Quartette Mr. Bergman, St. Amand,

Pick and Mallet

Trio 'Magic lantern' Misses Wrightens and

Mrs. Pownall

Bravoura Song 'On the rapid whirlwind' by Mrs. Pownall

Decidedly better than the concerts of this year were the few of 1790.
Dr. Berkenhead presented this program at Bowen's Hall, head of the Mall,
on February 25 1) and it will be noticed that he figured not less than three
times as composer, his 'Demolition' in the mean while having become the
'Abolition' :

Act I

Grand Symphony Haydn

Lesson on the Grand Piano Forte Mr. Dolliver

Song by the celebrated Mrs. Arnold

Lesson (composed by Clementi) on the Grand

Piano Forte by Dr. Berkenhead
Song (composed by Dr. Berkenhead) .. .. Miss Maxwell

Lesson .. .. Miss Dolliver

Song Miss Dolliver

Solo on the flute Mr. Stone

Billet doux, by Miss Maxwell and Miss Dolliver,
accompanied on the grand Piano Forte, by
Dr. Berkenhead.

Act II
Grand Overture

Song , Miss Maxwell

The Abolition of the Bastile, on the Grand

Piano Forte Dr. Berkenhead

Song Miss Dolliver

Pleyel's Concertante Miss Maxwell

Song Mrs. Arnold

Song, composed by Dr. Berkenhead Miss Maxwell

Lesson Dr. Berkenhead

Grand Overture

Historically more interesting than this was the program offered on
March 24^) at Bowen's Columbian Museum by Mr. Nugent who, being a
dancing master, waited until after the concert to show his talents in horn-
pipes and fas seuls:

1. A Grand Overture by the whole orchestra

2. A Clarinet Duet, by Messrs. Anderson and Granger

3. The Overture Chimine^) by wind instruments

4. A Quartette, by Messrs. Leaumont, Schaffer, Pick and Feckner

5. A Grand Chasse, composed by Stamitz.

The Concert will be followed by a ball, to be conducted by Mr. Nugent, in the
course of which several hornpipes by Mr. Nugents' scholars and a pas sent by Mr. Nugent.

1) Columbian Centinel, Feb. 20, 1796.

2) Columbian Centinel, March 16, 1796.

3) Sacchini.

— 303 —

Different in character and mainly made up of sacred music by American

composers was the concert given for the benefit of Peter Dolliver, junr.

at the Universal Meeting House, where he was organist, on March 31 1):

Voluntary by Dr. Berkenhead

Holden's Dedicatory Anthem, accompanied by

the organ and other instruments
Occasional Ode by Ladies
Billings's Easter Anthem
Ode, by Miss Amelia Dolliver
Cooper's Anthem
Solo by Miss Dolliver

"Ye Sons of Men" by Reeves

Solo, by a lady

Voluntary, by Mr. Dolliver

A Hymn-Music by Dr. Berkenhead

The whole to conclude with tlic celebrated

Hallelujah Chorus by Handel Z^,.''''^

Not for his own benefit but for a benevolent purpose Mr. Stone announced
a concert for May 23 2) at Bowen's Museum. His program showed a return
to more legitimate symphony - concert programs than Bostonians had
been accustomed to for some time past. It contained in

Act I
Grand Overtiu'e to Henry the 4th, with the
entracts3).

Song 'Fair Rosalie' Mrs. Arnold

Flute Concerto Mr. Stone

Solo on the grand Piano Forte, composed by .. Dr. Berkenhead

Violin Quartetto by Pleyel

Song 'By moon light on the green' Mrs. Arnold

A favorite Symphony by Hay den

Act II

A Grand Chasse, composed by C. Stamitz

A Clarinet Duetto by Michel

A new Hunting Song Mrs. Arnold

Hautboy Concerto Mr. Stone

Symphony on the grand Piano Forte, by Cie-

menti Dr. Berkenhead

Violin Quartetto by Franzill [!]

The whole to conclude with a particular Full Piece.

The announcement of Mrs. Arnold's concert at Theatre Hall, June 1st*)
is important as this lady, a popular actress and singer, did not forget to
mention the names of the most eminent instrumentalists in the theatre
orchestra who had offered her their assistance. Thus we are enabled to
prove contrary to contemporary reminiscences that the orchestras of those

1) Columbian Centinel, March 26, 1796.

2) Columbian Centinel, May 21, 1796.

3) Martini.

4) Columbian Centinel, June 1, 1796.

— 304 —

days contained more than "half a dozen musicians". On this particular
occasion the orchestra contained at least fourteen principal performers,
the etc. etc. standing, of course, for the less prominent members, whereby
the exact size is left to our more or less friendly imagination:

Vocal performers, Mrs. & Miss Arnold

Instrumental performers, Messrs. Shaffer, Mallet, Stone, La Barre, Granger,

Anderson, Bonnemort, Sweeny, Vakner [Feckner ?], Austin, Muck,

L'Epouse, Calligan, etc. etc.
Leader of the band, Mr. Leaumont
Grand Piano Forte, D. Berkenhead

Act 1st.

Grand Overture

Song, by particular desire, 'Ellen, or the Rich-
mond Primrose Girl', accompanied on the
flute, by Mr. Stone Mrs. Arnold

Solo on the grand Piano Forte Dr. Berkenhead

Song 'The Market Lass' Miss Arnold

Solo on a new instrument, called Spiccato, in-
vented and played by Mr. Shaffer

Manuscript Song 'The Cottage Gate', words by
R. B. Sheridan, Esq. and music by the
celebrated Haydn, accompanied on the
grand Piano Forte by Dr. Berkenhead .. Mrs. Arnold

Solo on Flute Mr. Stone

Manuscript Hunting Song, with full band .. Mrs. Arnold

Act 2d.

Grand Symphony Haydn

Manuscript Song 'Collin and Nancy' Mrs. Arnold

Quartetto, in which the favorite Air of the
Plough Boy' with variations will be intro-
duced by Mr. Leaumont

Song 'Henry's Cottage Maid' Mrs. Arnold

Duet, Clarinet Messrs. Anderson and

Granger

New Song, sung last year at Vauxhall Garden,
London, with great applause, 'Listen, listen
to the voice of love' Mrs. Arnold

Lovely Nymph assuage my anguish, on the

spiccato, by Mr. Shaffer

By desire, the popular song of the 'Heaving of
the lead', with all the original parts, as per-
formed at the Convent Garden Theatre by
Shield Mrs. Arnold

To conclude with La Grand Chassei)

Compared with this, a program like that of Mrs. Sully and Mr. Collet
at Concert Hall on September 13, the last concert in 1796, shrinks into
insignificance 2):

1) K. Stamitz.

2) Columbian Centinel, Sept. 10. 179C.

— 305 —

Act I.
Symphony of Haydn
Sonata of Pleyel, on the Forte Piano by .. Mrs. Sully

Ariet Mrs. Pick

Concerto of Jarnowick on the violin .. .. Mr. Collet
Rondo of Pleyel

Act II.
Grand Overture

Ariet by Mrs. Pick

Concerto of Herman on the Piano Forte

The celebrated Trio of Felix, song, by .. .. Mr. Mallet, Mr. Pick

and Mrs. Sully

Concerto on the Clarinet by Mr. Dubois

Finale.

It was said towards tlie end of the chapter on New York that the
Van Hagens moved to Boston late in 1796. Remembering how actively
they were engaged in concert- work at New York, it will seem strange that
both P. A. Van Hagen sen. and junr. taught music at their Musical Academy,
played in the theatre orchestra, became organists of the best churches,
opened a flourishing music store under the name of 'Musical Magazine'
and otherwise became prominent in the musical affairs of Boston but, to
my knowledge, did not announce a single henefit concert hetiveen 1797 and
1800. This alone would go far to prove that in Boston, as in New York
and Philadelphia, for reasons not wholly on the surface, concert-life was
at a very low ebb during the last years of the eighteenth century. And if
further proof is needed, we need but examine the newspapers. For instance,
I found but one concert advertised in 1797. It took place on September 14 1)
at the Columbian Museum with this indifferent program:

Act Fibst

1. An Overture

2. A Quartette on the French horn. By Messrs. Rozier, etc.

3. A French Song, accompanied with the grand Piano Forte. By Mr. Mallet

4. A Quartette on the German flute. By Messrs. Stone, etc.

5. A Grand Symphony

Act Second

1. An Overture

2. A Symphony on the Grand Piano Forte. By Messrs. Mallet, etc.

3. A Quartette on the Violin. By Messrs. Leaumont, etc.

4. An English Song, accompanied with the Grand Piano Forte. By Mr. Mallet

5. To conclude with a grand Symphony, full orchestra.

Mr. Brown respectfully informs . . . that the Museum will appear to great advan-
tage on that evening.

Slightly less meagre was the output of the year 1798 and if the proposals
of Messrs. J. B. Baker and S. Powell to erect a 'Columbian Vauxhall', at the
estimated cost of 10 000 dollars, "a species of Summer entertainment",

1) Columbian Centinel, Sept. 13, 1797.
Sonneck, Early Concert Life. 20

— 306 —

combining "salubrity with amusement and novelty with taste" i) if these
proposals met with sufficient encouragement then Bostonians had at least an
opportunity to enjoy open-air concerts as did Americans in other cities. But
before the Columbian Vauxhall could have been opened, almost all the con-
certs, to my knowledge given in 1798, had taken place. First in order and
importance was that announced by Mrs. Graupner for March 14 1) at Bowen's
Columbian Museum. The program escaped me, but it is safe to say that
Gottlieb Graupner, her husband, assisted. It was not to be his last appea-
rance before the public of Boston, for, just as William Selby had been the
musical center of the city during the years 1782 — 1792 so Gottlieb Graupner
became the musical oracle of Boston from now on until the foundation of
the Handel and Haydn society in 1815, of which he, too, was an original
member^). The concert of Mrs. Graupner was followed on April 2^) at
Mr. Vila's Concert Hall by a joint benefit for Messrs. Pick and Hosier, when
F. Schaffer, the clarinetist, was to play a concerto of his own:

Act I

A Grand Symphony of Pleyel *

The celebrated Song '0 Richard by my love' Mrs. Pick

A French Duet Mr. and Mrs. Rosier

Concerto on the Clarinet, composed and per-
formed by Mr. Shaffer

A Duet in the Siege of Belgrade*) Mr. and Mrs. Pick

A French Song IMr. Rosier

A Concert and Symphony Messrs. VonHagen, sen. and jun.

Act II

A Concert on the French horn Mr. Rosier

A French Song Mr. Pick

A Concerto on the flute Mr. Stone

The favorite Song 'Whither my love' .. .. ]Mrs. Pick

Trio for two horns and a clarinet Mr. and Mrs. Rosier and Shaffer

Concerto on the Violin Mr. Von Hagen, sen.

Quartette on the French Horn Messrs. Rosier,

Von Hagen, sen. and jun.

A Song 'The Black bird's a sweet whistle' .. Mrs. Pick
Finale

1) Columbian Centinel, March 7, 1798.

2) Not in 1798, as has been generally accepted, but early in 1797 did Gottlieb
Graupner settle in Boston. He came there as oboist in the Federal Street Theatre
orchestra and advertised in March his services as teacher of the oboe, German flute,
violin etc. According to the several accounts of his life in Perkins and Dwight, Jones,
and other books, Graupner was born about 1740, became oboist in a Hanoverian regiment
and went to London in 1788 where he played under Haydn. From London he went
to Prince Edwards Island whence he arrived at Charleston, S. C. in 1795 where he
married. With some friends he later on, in 1810 or 1811 founded in Boston a 'Phil-
harmonic Society' which existed until 1824. About 1800 Graupner opened a music
store. He also engraved and pubUshed music. The year of his death seems to be un-

L.tb-i^ih H ijj^Q-y^^ ^lis. Catherine Graupner, before her marriage known as Mrs. Hellyer, was a ' .

prominent vocalist on the American stage. She is said (by Jones) to have died in 1821:^ (^ ix.n*^ ^

3) Columbian Centinel, March 21, 1798. ^^^'^

4) Storace. C> . (^^'^ i

— 307 —

Then came R. Leaumont, leader of the theatre orchestra and subsequently
to be traced at Charleston, S. C. in the same capacity, with a benefit on
April 201) and F. Schaffer on May 2^) when he was to introduce a new in-
strument invented by him, possibly his spiccato, though the name is not
given. On May 15^) the Columbian Museum was "opened" (tickets half
a dollar, children 25 cents) for the benefit of Peter Dolliver who was to
perform several pieces on the grand pianoforte assisted by Miss Amelia
Dolliver who by particular request of her brother "accompanied for that
evening the pianoforte with her voice". Then followed the last and only
really important concert of the year on May 31*), a 'Spiritual Concert', also
called an 'Oratorio', at the New South Meeting House in Summer Street.
It was to be for the benefit of Francis Mallet, the organist of Rev. Kirkland's
congregation, who had procured the first vocal and instrumental performers
of Boston and who respectfully solicited the patronage of those ladies and
gentlemen who united to a love of the liberal art of music, the disposition of
alleviating real misfortune. The performance was to begin at 4 o'clock in
the afternoon and the price of tickets was "first seat 75 cts. ; second, 50 cts. ;
and third 25 cts."; perhaps the first instance in Boston's musical history of
a graduation of prices beyond two. The pillar of the program was Haendel
by whom Mr. Trille La Barre's 'Latin Oratorio' probably was placed in an
embarrassing position :

Act 1st.

Overture of Esther, composed by Handel

A Chorus 'Before Jehovah's awful throne'

A Song 'Bright Seraphim' (by Handel) .. .. Mrs. Graupner

A Quintetto, (a French horn and hautboys,

principals) M. M. Rosier and Graupner

A Duet 'Lovely Peace' (by Handel) Mr. Pick & Mallet

A Latin Oratorio (by desire) composed by Trille La Barre

Act 2d.
A grand Symphony, composed by Pleyel
A chorus '\Mien all thy mercies', adapted by Mallet
A Song 'Comfort ye my people' (by Handel) Mr. Ray

A Sonata on the organ Mr. Mallet

A Chorus 'Hallelujah' (by Handel)
Finale, Handel's Coronation

The concerts of 1799 were still fewer. First we notice a benefit for Peter
Dolliver at the Columbian Museum on Jan. 24^). Again, "by the request

1) Columbian Centinel, April 14, 1798.

2) Col. Cent. April 25, 1798.

3) See Brooks, p. 102 where the date of "Tuesday evening next 1st of May" is
obviously an error, the more so as Mr. Brooks copied the announcement from the
"Columbian Centinel, [Wednesday] May 9, 1798".

4) Columbian Centinel, May 9, 26, 1798.

5) Columbian Centinel, January 23, 1799.

20*

— 308 —

of her brother", Miss AmeUa assisted. She sang a song, accompanied by
Peter on the clarinet, and played a voluntary on the organ. Indeed, as
Peter Dolliver and Mr. Linley, who had kindly offered his co-operation, also
performed several pieces on the organ, this concert may be classed as one
of the first organ recitals given at Boston. The organ, together with some
musical clocks, formed one of the main attractions of Mr. Bowen's
Museum and, when on Feb. 8 the public was invited to admire
among a variety of new additions "a large cat of the mountain",
together with "the hkenesses of President Adams and General Washington",
the organ was again brought into prominence by a performance of "that
much admired solemn march, which was played by the band of music in
France, when Louis 16th suffered under the guillotine" i). But Mr. Bowen
was still more progressive and, though he was not an organist but merely
a clever business man, those among our organists who delight in turning
their vaunted king of instrument, as I have said elsewhere, into a kind of
orchestrion for which anything will do from a fugue to an operatic pot-
pourris, may see in Mr. Bowen a pioneer.

In the summer of 17992) Mr. Bowen notified the public that beginning
with July 30 there would be performances of his Concert Organ every
Tuesday, Thursday and Friday evenings and as a specimen program he
inserted that for the opening night:

The music will commence precisely at 8 o'clock with the Battle of Prague; Within
a mile of Edinburgh ; Dead of the night ; Fal la la ; The topsail shivers in the wind ; Heaving
the lead; Sailor's journal; Tom Bowling; You gentlemen of England and Little Sally;
On Board the Arethusa; Lullaby; Old Towler; Bachelor's hall; Pleasures of the chase;
How sweet in the woodland; Listen to the voice of love; Sweet little girl that I love;
Lilly's of the vallej'; and the Woodman,

Dutch fishmonger; British grenadier; Freemason's song; Meg of Wapping; Dolly
Thimble; Delights of the chase; Faint and wearily; Drink to me only; Kate of Aberdeen;
Freemason's march.

In the meantime Gottheb Graupner had announced under the heading
of 'Subscription Assembly' that, encouraged by the very flattering marks
of approbation on Mrs. Graupner's concert of 1798, he intended giving a
benefit concert for himself which, he promised, would be one of the most
brilliant performances ever produced in Boston — as soon as the subscrip-
tion was adequate to the expense. This announcement appeared as early
as April 17 in the Columbian Centinel but the subscriptions were so slow
coming in that the concert did not take place until May 20 3). A condition,
highly significant for the state of concert affairs in Boston at the end of the
century! Whatever the program was — presumably it was worthy of a

1) Col. Cent. Feb. 6, 1799.

2) Columbian Centinel, July 27, 1799.

3) Columbian Centinel, May 18, 1799. The program is not mentioned.

— 309 —

man who had played under Haydn — it cannot but have differed from that
offered by WilUam Kendall by permission of the Universal Society in Mr.
Murray's Meeting House on December 12 for his "exclusive benefit" i):

1. Ode, Descend ye Nine

2. do. Introductory

3. Voluntary on organ

4. Solo, Italy

5. Ode, 'Tis thine sweet power

6. Cliorus, Vital spark of heavenly flame

7. Voluntary on organ

8. Solo, Hail sacred art

9. Chorus, Drundon

10. Duet, Anesbury

11. Voluntary

12. Duet. Beneficence

13. Chorus, Angels toll the rock away

14. Solo, Let the bright Seraphim

Merely mentioning Mr. Bates' "Medley entertainment in three parts,
called 'Fashionable variety'; or, Characters drawn from hfe, consisting of
various descriptions, moral reflections, comic songs", the latter sung by
Mrs. Graupner, on March 20, 18002) and on June 26, 1800 the appearance
of those phenomena of musical abilities, a boy of seven and an infant of
four years, whose acquaintance was already formed at New York 2), I close
this chapter with an advertisement which proves that, however insignificant
the musical hfe of Boston had become in public, in private circles the love
of music had not died out. We read in the Columbian Centinel, April 6,

1799:

Philharmonic Society
A general and punctual attendance of the members is requested this evening, as
business of importance will be laid before the society. By order

W. H. M' Neill, Secretary.

Of this Philharmonic Society nothing further is known. It is not even
mentioned by other historians but certainly the supposition wdll not be
considered violent that Gottlieb Graupner was one of the founders. Is it
possible, after all, that the Philharmonic Society which Perkins and Dwight
claim to have been founded by Graupner and his friends in 1810 or 1811
and which gave its last concert on November 24, 1824, was identical with

that existing in 1799?

* *

On Dec. 15, 1790 the Essex Journal of Newburyport informed its readers

that according to a late enumeration in the county of Essex with a total of

57908 the town of Newburyport contained 4837, Salem 7921, Marblehead

1) Columbian Centinel, Dec. 11, 1799.

2) The father closed the announcement with this NB "If the children do not
perform what is in the bills [marches, airs, hornpipes, duets, etc.] those who come
shall have their money back"!

— 310 —

5660, Glocester 5317, Ipswich 4562, Beverly 3290 and so on down to Methuen
with 1293 inhabitants. This curious bit of statistics strikingly ilhistrates
one important point : the difference between the States commonly comprised
under the collective name of New England and for instance the States of
New York and Pennsylvania. When thinking of cities or towns as they
thrived in the Middle States about 1790 our memory begins to fail after
having mentioned New York, Albany, Philadelphia, Bethlehem, Lancaster.
It is entirely different with New England. While most of the towns men-
tioned above were insignificant enough yet it would reveal a very limited
knowledge of general history if besides Boston, at least, Salem, Newport,
Worcester, Newburyport, Providence, New Haven, Hartford were not taken
into consideration. Undoubtedly Boston had by this become the center
of gravitation in these relatively thickly settled States but she had not yet
hopelessly out-distanced other towns, once her rivals, and {mutatis mutandis)
this struggle against her supremacy has continued ever since. Especially
in intellectual matters! We need but think of the many learned societies
and institutions, of the net of well-equipped and well-managed libraries
spread over New England and the neighboring States to recognize the
truth of this observation and to understand how the mighty and general
intellectual development of New England resulted from the absence of ab-
solute centrahsation of intellectual forces. The same observation holds
true if applied to the history of music in New England and more particularly
during the formative period. But the early nmsical history of New England
is peculiar. Undeniably the interest taken in music by the Yankees was
keen, earnest and sincere but outside of Boston it moved predominantly
in the narrow channel of what we call psalmody, cultivated by the innume-
rable singing schools and singing societies. For instance, where we find
in the newspapers one advertisement of a dancing master or a musician
anxious to teach the German flute, harpsichord, violin etc. we run across
a dozen advertisements of singing schools, or of the publication of the psalm-
tune collections (now so scarce) compiled by Stickney, Billings, Jocelyn,
Eead, Holyoke, Law, Holden and others. It would be a thankful task for
a historian interested more in the history of our early sacred than secular
music to rigidly apply the projective method — more difficult, may be,
but also more correct and fruitful than the mere critical or esthetic method —
to this phase of our country's musical development. It would be seen how,
even in the field of psalmody, England was taken as the model with a full
knowledge and an enthusiastic imitation of the standards of psalmody pre-
vailing in the mother country and how the New Englanders added to this
literature in a fashion pecuUar to their own needs and requirements. One
important lesson would be learned and it is this that, if psalmody in America

— 311 —

was crude and amateurish, it was not very much more so than in England
as represented by Tansur, Williams etc., that Billings was a character, a
personality more than a pioneer, that his and the tendencies of his rivals
and imitators were working with tremendous force for the good of the future
of choral music, — in short that it is easier to ridicule the technical short-
comings of these "singing teachers" than to give them credit for their actual
musical abilities and to ascertain their real historical importance.

To what extent sacred music dominated the interests of music lovers
outside of Boston may further be illustrated without difficulty. There
existed at Cambridge in 1789 a 'Singing Club of the University' and though
undoubtedly the Harvard boys knew strains very much more secular and
even profane than those contained in the 'Harmonia Americana' compiled
by their fellow-student Samuel Holyoke, the manner in which the members
of the club publicly endorsed this collection proves that the 'Singing Club'
was devoted mainly if not exclusively to the study of psalmody, "this im-
portant part of divine worship" i). There also existed a musical club about
1786 at New Haven^) called 'The Musical Society of Yale College' and the
same inference as to its tendencies may be drawn from the elaborate ad-
vertisement in which Amos Doolittle and Daniel Read solicited subscriptions
for their 'American Musical Magazine' in which no piece not previously
examined and approved by said society was to be published^). However,
sacred music did not predominate in the frovincial cities of New England
to the exclusion of secular music. Such a pre-conceived theory without actual
proofs deducted from available data would be an absurdity, for, where
toasts are drunk to the king, to the United States, to the Presidents to
popular tunes of the day, where the lads woe the lasses, where mothers rock
their bahies to sleep, where the courtly minuet alternated with the sprightly
jig, where the "martial band" sets the soldiers marching, where the harp-
sichord, the violin, the guitar, the German flute are advertised for sale, and
where patriotic songs are sung to the strains of Anacreontic airs, there, of
necessity, must have existed an inherited and replenished store of secular
music and consequently a vivid interest in secular music, at least during
six days of the week. Moreover, with all the ethical arguments and legal
restrictions against theatrical entertainments, the Beggar^s Opera and other
ballad operas invaded New England at an early date and when finally in
the last decade of the eighteenth century the barriers against theatrical
entertainments collapsed, the people of Providence, Salem, Hartford, New-
port and elsewhere enjoyed, and what means more, were prepared to enjoy

1) Massachusetts Spy, Worcester, June 25, 1789. —

2) Population in 1800 — only 4049 inhabitants!

3) Connecticut Journal, New Haven, March 29, 1786.

— 312 —

English opera just as much as the Bostonians or New Yorker. But in the
realm of concerts — and this is peculiar — New England, Boston excepted,
does not furnish much of interest to the historian. It would he more accurate
to say outside of Boston and her immediate vicinity, for such towns like
Salem, Charlestown, Cambridge naturally partook of everything offered at
Boston ih the form of public entertainments, and vice versa.

Thus, for instance, Bostonians were duly notified through the columns
of the Massachusetts Gazette of a concert to be given by a Mr. Coleman in
the Court House at Cambridge on Commencement day, July 15, 1772 and
those who cared to attend the "grand" concert of vocal and instrumental
music with Mrs. Spencer, Mrs. Berkenhead, Mr. T. Spencer and Dr. Berken-
head as principal performers at Warren's Tavern on January 15, 1798 or
Peter DolUver, the organist's concert of sacred music at the Meeting House
in Charlestown on June 13, 1799 found the announcements in the Columbian
Centinel. Since it was no longer necessary as of yore to use a rude ferry-
boat plying between the North End of Boston and Charlestown, as Cox
had gained an international reputation by spanning Charlesriver in 1786
by a bridge, the short trip to Charlestown possessed the incidental features
of a pleasant outing. It took somewhat longer to drive or ride to Salem,
but, as the Salem Gazette printed advertisements of concerts to be given
at Boston and the Boston papers such of concerts to be given at Salem, it
is clear that the musical intercourse between the two cities must have
been feasible and frequent. For many years Salem depended almost entirely
on the offerings of Boston but it is interesting to note that towards the
close of the century Salem possessed a concert-life independent of Boston.

As private singing societies w^ere established at Salem as early as 1772,
(according to Brooks), it is possible that more or less public concerts with
programs made up of hymns and anthems were given there before the war,
but the first real pubUc concert held at Salem seems to have been the one
at Concert Hall [!] on January 17, 1783. The interesting announcement in
the Salem Gazette, January 16, reads:

The Massachusetts Band of JMusick being at home a few days on furlough, propose,
with permission, to pei'form at Concert Hall, in Salem, to-morrow evening.* This band
belongs to Col. Crane's Artillery, is complete, and will have the assistance of two or
three capital performers.

The Musick will consist of Overtures, Symphonies, Harmony and Military Mnsick,
Solos, duets on the horns, and some favourite songs by the band. To begin at six o'cxDck
and end at half past nine.

Tickets at six shillings each, to be had at the Printing Office to moi ow.

The Massachusetts Band "performed to so great acceptance" t>iat
few days later, on January 24, it was engaged to assist in a Concert for tho
Poor at Concert HalU).

1) Salem Gazette, January 23, 1783.

— 313 —

Next we notice a Concert of Sacred Miisick, Vocal and Instrumental
planned for November 25, 1790 in St. Peter's Church for the purpose of
repairing the organ of the church^). This time it was "the Band from
Boston" which did the musical honors and William Selby was to play on
the organ. Tickets for the ground floor were to cost 1 s. 6 and for the gal-
lery 9d. For July 10, 17922) ^^g announced a concert but as between its
parts was to be delivered "the tragic and moral lecture, called Douglas with
various songs", the hybrid entertainment does not call for much attention
here. It is different with the concert advertised for September 9, 1794^)
at the Assembly Room for the benefit of Mr. and Mrs. Jacobus Pick, Messrs.
Louis Boullay, Francis Mallet and Frederick Granger, as the program was
as substantial as any offered at Boston during those years:

First Part.

1. Blaise and Babet Overture*) — full orchestra

2. Song of Jordany [!], sung by Mrs. Pick

3. Quartette on the flute, by a amateur, Messrs. Boullay, Pick and Mallet

4. French Song, by Mr. Pick

5. Overture in the 'Two Misers' 5) — full orchestra

6. A favorite new Song, by Mrs. Pick

7. The Chasse of Stamitz, the horn part by Mr. Pick

8. A favorite Italian duet, sung by Messrs. Mallet and Pick

Second Part.

1. Grand Overture in Rosiere de Salenci, composed by Gretry

2. A Comic Italian Song, by Mr. Mallet

3. Violin Concerto, by Mr. Boullay

4. A favorite new Song, by Mrs. Pick

5. Quartetto on the Clarinet, by Messrs. Granger, Boullay, Pick and Mallet

6. English Duett, sung by Mi', and Mrs. Pick

7. Grand Symphony of Pleyel.

Then we notice an organ recital given by William Blodgett at St. Peters'
on December 7, 1796^), Mrs. Tubbs' song recital at Washington Hall in
March 1797'') and on April 13, 1797^) a curious miscellaneous entertain-
. ment called

"Just in Time or Such things have been — Such things may be — Such things
are. Mirth. Song and Sentiment by Chalmers and Williams from the Theatres, Boston,

1) Salem Gazette, Nov. 23, 1790. This must have been the organ made by Tho-
mas Johnston of Boston for St. Peter's in 1754 but which was not erected there until
1770 when the church made an exchange with Johnston, giving him their old organ,
purchased in 1743 by subscription from Mr. John Clark. For further information
consult Brooks, p. 65.

2) Salem Gazette, July 10, 1792.

3) Salem Gazette, Sept. 2, 9, 1794.

4) Dezede.

5) Dibdin.

6) Salem Gazette, Dec. 6, 1796.

7) Salem Gazette, March 10, 1797.

8) Salem Gazette, April 11, 1797.

— 314 —

consisting of pieces, serious, comic, moral and entertaining in readings, recitations
and songs. Performed at Dibdin's Vauxhall and the theatres in Europe."

In the following year, sometime in February, Washington Hall was the
scene of a triumph for Mr. Spencer, the vocalist, and in connection with
this concert was used, to my knowledge, for the first time in our musical
history, the term encore. Said a correspondent in the Columbian Centinel,
Boston, February 21, 1798:

Dr. Berkenhead and Co. entertained the inhabitants of Salem with a "Concert"
on Thursday evening. — Washington Hall was well filled. Mrs. Berkenhead, though
indisposed, sang with feeling and taste; Mrs. Spencer with emphasis and correctness;
and Mr. Spencer was loudly applauded and repeatedly encored, by the gallery boys!
The Bastile, by the Doctor, was admirably played on an elegant harpsichord, belonging
to a respectable family in that town.

About this time, Salem came into possession of a 'New Concert Hall',
in Marketstreet and it was here that Gottlieb Graupner with the assistance
of "the best musicians from Boston" gave what he promised to be "more
pleasing than any performance of the kind hitherto offered to the inhabi-
tants of Salem"!). The memorable event took place on May 15, 1798 with
a program in which chamber music figured pre-eminently:

Part 1st.

Grand Symphony by Pleyl

Song 'On by the spur of valour goaded', Mr. Collins .. Shield
Clarinet Quartetto, Messi's. Granger, Laumont, Von Hagen

and Graupner Vogel

Song 'He pipes so sweet', Mrs. Graupner Hook

Concerto on the French hoi-n, Mr. Rosier Ponton [Punto ?]

A favourite new Song 'Little Sally's wooden ware', Miss

Solomon Arnold

Full piece Hayden

Part 2d.

Quartetto 'Who shall deserve the glowing praise', Mrs.

Graupner, INIr. Granger, Mr. Collins, and Mr. Mallet Linly

Concerto on the Clarinet, composed and performed by
Mr. Shaffer

A new favourite Echo song 'How do you do', Mrs. Graupner, Hook
accompanied on the hautboy by Mr. Graupner

Concerto on the violin, Laumont Foder [Fodor]

A comic Irish Song 'Boston news', Mrs. Collins

Concerto on the Hautboy, the composition of the cele-
brated Fisher, Mr. Graupner.

Duet, 'Hey dance to the fiddle and tabor', from the much

admired opera of Lock and Key2), Mrs. Graupner and Mr. Collins
Finale Pleyl

Number of performers 12 — Doors to be opened at 6 o'clock and the performance
to begin precisely at half after seven. In consequence of the advice of some friends,
Mr. Graupner has reduced the price of tickets to half a dollar each . . .

1) Salem Gazette, May 11, 15, 1798.

2) Shield.

— 315 —

This concert should have been followed on May 29 1) by Mr. and Mrs.
Hosier's benefit, but first Mr. Hosier's "public duties on Election Day"
obliged him to postpone it to June 5 and then "his engagements to the
Boston Cavalry" once more to June 7. Of course the Rosiers were very
profuse in their apologies for those alterations.

The statement was made in the preceding pages that the Van Hagens
do not seem to have risked a possible loss by giving benefit concerts at
Boston. For this reason it is all the more interesting that young Peter
A. Van Hagen — since they moved to Boston the Van became a Von —
resolved to give a concert at Salem, his temporary residence, in the sum.mer
of 1798. That really the thrifty Van Hagens cared less for the glory of
public apjjearance at Boston than for an actual benefit may be inferred
from the fact that the Salem concert was only "to commence as soon as the
subscription [was] found adequate to the expences" which he hoped to
cover by his "terms — A subscriber for a ticket to admit a lady and
gentleman, 1 dollar 50 cents; do. for one person 88 cents [!]; a non-subscriber,
1 dollar" 2). It does not appear whether or not the inhabitants of Salem
agreed to these odd 88 cents. It would almost seem that young Van Hagen.
postponed his concert by fully half a year as he again announced a concert
for his benefit under almost literally the same terms on January 25, 1799,
the only difference being that "a subscriber for a ticket for one person"
received a rebate of 25 cents instead of 12. This change must have pleased
the Salemites for the concert actually took place on February 5, 1799 wth
the assistance of his parents, Mr. and Mrs. Graupner, and "several of the
best performers in Boston" 2). Unfortunately the program was not men-
tioned, but probably it was arranged on very much the same lines as that
presented on June 25, 1799 by Mrs. Graupner at the Concert Hall, Market
Street for her benefit with Mr. Van Hagen, [sen.] as leader of the band "from
Boston"*).

Part 1st.

Overture, composed by Pleyel

Song by Mr. Munto Dr. Arnold

A Sonata on the Grand Forte Piano Kozeluch

for 4 hands, by Mrs. Von Hagen and Mr. Von Hagen.jun.

'By my tender passion', a favourite song in the Haunted

Tower, by Mrs. Graupner Storace

Solo on the Clarinet, by Mr. Granger Vogel

Lullaby, a favourite Glee for four voices, Mrs. Graupner.

Mr. Granger, Mr. Mallet and Mr. Munto Harrison

Concerto on the Violin by Mr. Von Hagen Jearnowick

1) Salem Gazette, May 18, May 22, June 5, 1798.

2) Salem Gazette, Aug. 14, 1798.

3) Salem Gazette, January 25 and Feb. 5, 1799.

4) Salem Gazette, June 25, 1799.

— 316 —

Part 2d.
Concerto on the Piano Forte, by Mrs. Von Hagen .. .. Haydn
Columbia's Bold Eagle, a patriotic song, words by a gentle-
man of Salem. Music by Mr. Graupner and sung by

Mrs. Graupner

Concerto on the Hautboy, by Mr. Graupner Le Brun

The Play'd in Air, a much admired Glee in the Castle

Spectrei), by Mrs. Graupner, Mr. Granger, Mr. Mallet

and Mr. Munto
Quartetto by Messrs. von Hagen, sen. and jun., Mr. Lau-

mont. and Mrs. Graupner.
'To Arms, to arms', a new patriotic song, written by Thomas

Paine. A. M. sung by Mrs. Graupner and music by

Mr. von Hagen, jun.
Finale Haydn

For this concert 'A Citizen' addressed to Mr. Gushing, the owner of the
Salem Gazette, on June 25 a curious advance-criticism, highly flattering
to the participants. Said the citizen:

Mr. Gushing,

I observe that a Concert of Music is advertised in your last paper, to be performed
on this evening for the benefit of Mrs. Graupner. It is to be hoped that, as the com-
pany expressed a great satisfaction for the last excellent Concert which was given
by Mr. Graupner, they will receive no less pleasure from this. To render the enter-
tainment more complete, we are informed, that there will be added to the other instru-
ments an excellent piano forte. The beauties of this instrument will be displayed in
the brilliant execution of Mrs. Von Hagen whose taste and talents procured her, when
in Holland, the admiration of the Court at the Hague, as they have since in America
commanded the applause of all who have heard her perform.

To the claim which Mr. Graupner's abilities give him to the public patronage,
his misfortune in being burnt out of his house by the late fire at Boston will, it is hoped,
be duly considered by every human mind. Those that attend this concert, will have
added to the enjoyment of music, the satisfaction resulting from aiding those who
have suffered from a calamity which they themselves, as inhabitants of a wooden
town, are peculiarly exposed to.

A Citizen.

Finally "the excellent organ made by the celebrated Avery" for Rev.
Dr. Prince's Meeting House was to be "opened with several voluntaries by
an eminent master" during an afternoon-concert of sacred vocal and in-
strumental music on Sept. 19, 1800, for which, as usual, the best performers
in Boston had been engaged, but on account of the indisposition of one of
them the concert was unavoidably postponed and does not seem to have
taken place 2). —

"The Want of instruments, together with the Niggardhness of the People of this
Place, and their not having a Taste of Musick, render it impossible for any one of my
Profession to get a competent Maintenance here; and their Feuds and Animosities
are so great concerning their Government, that a Man can take but little Satisfaction
in being among them: so that, it is no better than burying one's self alive . . ."

1) Michael Kelly.

2) Salem Gazette, Sept. 16, 19, 1800.

— 317 —

Certainly this was anything but a compliment which John Owen Jacobi,
the organist of Trinity Church, paid to the inhabitants of Newport, R. J.
in a letter to Peter Evans of Philadelphia in March 17391). ;^or can it
be maintained that the interest taken in music at Newport in after-years
was very lively. Still, a few concerts are on record. Possibly the first given
at Newport was the "grand" concert announced by a "number of the first
performers from Boston, etc." for May 5, 1772 at the Court House 2). In
the following year, as will be remembered, William Selby became the organist
of Trinity Church and he announced a benefit concert for August 3, 1774^).
A few days later he resigned his position and a Mr. Knoetchel became his
successor*). This gentleman then gave an afternoon-concert in the Colony
House on September 18, 1774, the price of tickets being three 'pounds each,
but, as Mr. Brooks who unearthed the announcement remarks, this fabulous
sum was in depreciated currency and the price of the ticket would now be
about fifty cents in silver. No other concert, it seems, was advertised until
long after the war, when the announcement in the Newport Mercury,
March 25, 1793 undeniably proves that Newport then possessed a Concert
Hall where on "Tuesday Evening in Easter Week" The St. Caecilia Society
granted to one of the members a benefit concert. Whether this society
cultivated sacred vocal music only or both sacred and secular or instrumental
music, does not appear. This possibly was the last concert of the century
recorded by the press, unless we admit Mr. Tubbs' Concert and Reading
at Mr. Penrose's Hall on May 2, 1797. It was called ^'Oddities, or a Certain
cure for the spleen. After the manner of Dibdin consisting of singing and
comic readings from eminent authors"^).

Newport's rival, Providence^), was not blessed with overly many con-
certs. To be sure, as early as August 1762 "Concerts of musick" were ad-
vertised in the Boston Evening Post (!) to take place there at the new School-
house but these were daily performances of such tragedies as Cato and
the pantomime of Harlequin Collector, the acts separated by music,

1) Reprinted under the heading 'Music in Rhode Island, 1739' in the Publ. of the
R. I. Hist. See., New Ser., VII. Jan. 1900. The organ had been presented by Dean
Berkeley in 1733 and Mr. Jacobi was induced to come over from England in 1736 as
organist. The expenses of his voyage, J^ 18. 15 s. were paid, and he was given a salary
of .t 25 per annum. The organ was set up with the assistance of Charles Theodore
Pachelbel of Boston, who was also the first organist. (See Brooks, p. 52.)

2) Ne-^^jort Mercury, April 27, 1772.

3) Newport Mercury, August 1, 1774.

4) Tliis Mr. Knoetchel must have been a relative, perhaps the son of the John
Ernest Knoetchel who was organist of Trinity Church in the sixties at a salary of
:^ 30 and who died in October 1769. (Mason's Annals of Trinity Church, Sec. Ser.
1894, p. 313.)

5) New^jort Mercury, May 2, 1797.

6) Population: 1790—6380; 1800—9451 inhabitants.

— 318 —

called concerts merely to evade the restrictions against theatrical entertain-
ments. The first concert proper seems to have been given at Providence
early in August 1768 under the direction of a Mr. Dawson i). It was announced
as a concert of instrumental music during which by particular desire Mr.
Dawson "presented the company with a hornpipe and Mr. Tioli [was to]
perform a tambourin dance in Italian taste". This was followed on Sep-
tember 26, 17682) by a concert under the direction of Mr. Tioli at Mr. Hacker's
Room. Shortly afterwards, business urged Mr. Tioli' s immediate departure
and he "quitted with reluctance a place, the inhabitants of which are justly
remarked for their politeness and affability towards strangers". Then we
notice a concert of vocal and instrumental music given by William Blodgett
with the assistance of "a number of masters from Boston" on Sept. 2, 17723).

Not until after the war did I run across another concert announcement,
when on June 28, 1784*) was to be given

A Concert of Instrumental Music (consisting of clarinetts, flutes, French horns,
bassoons etc.) at the State House . . . beginning at early candle light.

This evidently was a band concert and there is reason to believe
that it was given by a Mr. Hewill who in April had informed the young
ladies and gentlemen of Providence that he had opened "a school of instru-
mental music in College street — [where he taught] the German flute,
clarinet, bassoon, French horn, etc. "5). Presumably Mr. Hewill simply
gave an exhibition of the abilities of his pupils acquired under his tutorship.
During the last decade of the eighteenth century the inhabitants of Pro-
vidence received a taste of legitimate opera and drama and naturally the
members of Mr. Harper's company sought to add to their income by offering
entertainments when not on duty at the theatre. Thus Mr. and Mrs. Harper
gave an 'Attic Entertainment' in December 1794^) but real concerts none.
In fact the only entertainment presented during this and the following
years which might deserve the name of concert was the one held on April 27,
1797') by Mrs. Tubbs at the theatre for her benefit prior to leaving town.
On this evening "the best selection of the most popular songs and duets
[were to] be sung by Mrs. Tubbs and Miss Arnold, a young lady of 10 years
of age. The songs to be accompanied on the Forte Piano by Mr. Tubbs".

Now Mrs. Tubbs, odd as this may seem at first reading, was the mother
of Miss Arnold for, when announcing in the Eastern Herald of Portland,

1) Providence Gazette, July 30 1732.

2) Providence Gaz. Sept. 11, 1768.

3) Providence Gaz. Aug. 22, 1712. Subsequently, in 1714, W. Blodgett proposed
to open a dancing school.

4) Providence Gazette, June 26, 1784.

5) Providence Gazette, April 24, 1784.

6) Providence Gazette, Dec. 6, 1794.

7) United States Chronicle, April 27, 1797.

— 319 —

Maine, Nov. 17, 1796 her intention of having at the Assembly Room there
on November 21 a concert "to consist of the most popular songs sung last
season at Covent Garden", she called herself "Mrs. Tubbs, late Mrs. Arnold
of the Theatre Royal Covent Garden, London" incidentally remarking that
after the concert Mr. Tubbs intended setting up a theatre. Without prying
to closely into her family relations, it is clear that Mr. Tubbs cannot have
been the lucky husband of such an accomplished artist for very long as the
Oracle of the Day, Portsmouth, N. H.^) informed its readers on July 21,
1796 that Mrs. Arnold would give a concert at the Assembly Room on Au-
gust 3d. The follo\ving was to be part of the selection for the occasion^):

Song 'The Bonny Bold Soldier' ]\Irs. Arnold

Song 'The Market Lass' Mrs. Arnold

Song 'Ellen, or the Richmond primrose girl, as sung by
i\Irs. Arnold repeatedly at the Boston theatre, with
universal applause, accompanied on the Forte Piano Mrs. Arnold
Voluntary pieces.

Song 'Henry's cottage maid' Mrs. Arnold

Song 'By moonlight on the green' Mrs. Arnold

Song 'The hea\-ing of the lead' Mrs. Arnold

Song 'O listen, listen to the voice of love' Mrs. Arnold

Song 'Mary's dream, or Sandy's ghost, by particular de-
sire, accompanied on the Forte Piano Mrs. Arnold f

But this song recital is not the first concert on record at Portsmouth
as "the band of music belonging to Col. Crane's regiment of artillery" gave
a Public Concert at the Assembly Room on February 17, 1783^). How
erroneous the popular belief is that the bands in the Continental Army
consisted merely of a few fifes and drums and were incapable of playing
none but fife and drum music may again be seen as this artillery band per-
formed on said occasion

"several overtures, simphonies, military music, several songs, and several duettos
on the French horn"
as it did about the sam.e time at Salem, when on furlough.

Between this and the concert of 1796 we further notice one for the benefit
of Horatio Garnet, composer of an 'Ode for American Independence', on
September 28, 1789*) at the Assembly Room. And as "the musick, enter-
tainment, etc. [was to be] the same as the assemblies last winter" it must
be inferred that Portsmouth had occasion to enjoy concerts also in 1788.
Indeed, it is more than probable that concerts, though perhaps private and
interspersed with readings, etc., were given at the singing schools and As-
semblies of all the different small cities mentioned and elsewhere very much
more frequently than an examination of the extant newspaper files would

1) Population: 1790 — 4720; 1800 — 5339 inhabitants.

2) Copied from Brooks, p. 162.

3) New Hampshire Gazette, February 15, 1783.

4) New Hampshire Gazette, Sept. 24, 1789.

— 320 —

allow us to prove. A fitting illustration of how perhaps such affairs looked,
may be found in a communication to the Columbian Centinel, Boston, from
Concord, N. H. on September 23, 1797:

MUSICAL SOCIETY

On Tuesday the 12th inst. was the anniversary meeting of Concord Musical Society.
At 2 o'clock, the members of the Society met at the Town House; and at 3 o'clock
they moved in procession to the Meeting House, preceded by a number of musical per-
formers, belonging to the society, playing on instruments and accompanied by a nume-
rous crowd of spectators belonging to this and adjacent towns. The Rev. Mr. Parker,
of Canterbury, introduced the exercises of the day by a most ingenious, excellent and
sublime prayer, perfectly adapted to the occasion, addressed to the throne of the great
author of "Harmony Divine". Several pieces of music, vocal and instrumental, were
performed. A really classical Oration on Music, neat in composition, ingenious in
design, was delivered by Philip Carrigan, jun. A. M. in which he gave a brief but en-
lightening view of music in general, from the earliest ages to the present day; stated
the general principles of the nature of the art; delightfully describing its pleasing cap-
tivating charms ; tracing its astonishing and beneficial influence over the mind, and
its various socialising effects upon the heart of man, both in his native ferocious and
more civilized state, justly ascribing to the powers and influence of music, not a little
of the glory of the triumphs of our veteran armies over the minions of tyrants, in our
late contest for liberty with Great Gritain, in which Americans were made freemen,
and led to glory and honor by a Washington — and attributing to it much of the un-
precedented courage and bravery of the numerous legions of Bunaparte, whom he has
conducted to immortal fame, rendered invulnerable by the extatic inspirations of
this heavenly science, every nerve beating time to the music of 'Marseilles Hymn'
and other popular songs. In the style and delivery of this oration we observed with
pleasure those traces of genius and gesticulations characteristic of the refined
orator, which truly deserve and must ever command respect ; and which gained Carrigan
the liveliest testimonials of public applause, from a most brilliant ,respectable and very
numerous and learned audience. He closed with a moral apostrophe, addressed to the
auditory, in which (after a neat comparison of the human frame to a musical instru-
ment) he enchantly invited all so to attune their hearts and lives, that they might
meet in unison in the great Musical Society above. This is but an inadequate Comment
on the worth of this oration. We hope to see it soon in print, when it will gain from
the lovers of the Belles Letfres the eulogiums it deserves.

Perhaps there were never seen so many people together in this town, where all
appeared so well satisfied; and where such unanimous applause was given the perfor-
mances — the tribute was warm, general and hearty. Great thanks are due Mr. Flagg
for his attendance, and the complaisant Mr. Maurice and the obliging Messrs. Longs
for their assistance in the musical exercises. All was harmony and a brilliant ball
graced the evening of the festive day.

This letter affords a curious glimpse into the activity of these provincial
musical societies and proves at least that they were sincere, enthusiastic
exponents of the musical art, fully aware of its importance as a factor of
civilisation - — and not wholly addicted to psalmody. Nor were contests
between the musical societies of neighboring towns missing, and as such
contests must be classed with concerts, an opportunity arises to quote the
delightful description Mr. Louis C. Elson gives of the one between the singers
of the First Parish of Dorchester, Mass. and the famous Stoughton Musical
Society, founded in 1786 and the first impetus towards which was given

— 321 —

by tlie establishment of "William Billings' singing class of forty-eight members

at Stoughton in 1 774. Says Mr. Elson in his History of American Music (p. 28) :

Many clergymen, in following the good old fashion of "exchanging pulpits," had
become familiar with the excellent church music of Stoughton, and sounded its praises
abroad. The singers of the First Parish of Dorchester, Massachusetts, took umbrage
at this, and challenged the Stoughton vocalists to a trial of skill. The gauntlet was at
once taken vip, and the contest took place in a large hall in Dorchester, many of the
leading Bostonians coming out to witness it. The Dorchester choristers were male
and female, and had the assistance of a bass viol. The Stoughton party consisted of
twenty selected male voices, without instruments, led by the president of the Stoughton
Musical Society, Elijah Dunbar, a man of dignified presence and of excellent voice.
The Dorchester singers began with a new anthem. The Stoughtonians commenced
with Jacob French's 'Heavenly Vision', the author of which was their fellow townsman.
\Mien they finally sang, without books, Handel's 'Hallelujah Chorus', the Dorchestrians
gave up the contest, and gracefully acknowledged defeat."

Occasionally several societies would form an association in lieu of con-
tests and to one at least we possess a tangible clue. The Boston Athenaeum
possesses (in 12^, 12 p.):

The Constitution of the Essex Musical Association. Established 28th March, 1797.
Newburyport. Printed by Edmund M. Blunt. State Street — 1798.

The curious pamphlet is divided into twelve sections dealing mostly
with the transaction of routine business, but a few articles are of interest in
connection with my theme. Thus the association was to be limited to the
County of Essex but an ink memorandum reads' "excepting the case of
honorary members". The association was to meet quarterly, beginning
from the foundation and after the first year a public musical exhibition was.
to be held annually. As "standard book" being mentioned Hans Gram's
"Massachusetts Compiler" probably the association cultivated principally
sacred music but it is expressly stated that the "Performances [were to be]
vocal and instrumental" with "bass viols, vioHns and flutes" as "instruments
used at present"! The annual meeting was held on the second Monday in
September and quarterly meetings on the second Mondays in December,
March and June at the "permanent" "place of meeting — Mr. Parker
Spoffords, Boxford". Possibly this pretty obscure town was selected be-
cause about half of the forty-four members hailed from there, amongst them
the "Director" Samuel Holyoke, born at Boxford in 1762, who also seems
to have been the founder of the Essex Musical Association as he heads the
list of "the names of the members in their order of admission".

If pubhc concerts were given at New Haven, Conn, they must have
escaped my attention, but the city was inhabited by at least one rnusician
capable of giving concerts. Said John Rowe in his diary i) linder January 5,
1768 that he spent the evening at Joseph Harrison's when

1) Edited in extracts by Edward L. Pierce in the Mass. JHist. Soc. Proc. 1895,
X, p. 11—108.

Sonneck, Early Concert Life. 21

— 322 —

"Mr. Mills of New Haven entertained us most agreeably on bis violin; I tbink
he plays the best of any performers I ever heard."

On the other hand I am in a position to submit at least the odd program

of a concert performed by the "musical family of Mr. Salter, organist of

New Haven, late from England" and who has already attracted our attention

in New Jersey and South Carolina, on February 2, 17971) at Mr. Poole's

Hall in New London, Conn. :

Act I. Master Salter, a boy of 10 years old, will play several beautiful airs, marches,
minuets, etc. on the piano forte, accompanied by Mr. Salter on the \nolin. Miss Salter,
a child of seven years old, will sing the Waxen Doll.

Act II. Duett, by Master and Miss Salter on the pianoforte, accompanied by
Mr. Salter. A Song by Miss Salter. Several airs on the piano forte by Mr. Salter.
The Battle of Prague, a favourite musical piece on the same instrument. To conclude
with a

Sea Engagement

Representing two fleets engaging, some sinking, others blowing up. Neptune
drawn by two sea horses, emerging from the waves. — Old Charon in his boat — A
mermaid and Delphin — Between the music, Master Salter will speak the three warnings.

To begin precisely at seven o'clock. — Tickets may be had at the door. Price
1 «. 6 d. for grown persons, children 9 c?. — D. Salter having the misfortune to be afflicted
with weakness of sight, will, he hopes, claim the attention of the public.

Finally Hartford, Conn., then little more than a village^), attracts our
attention and it Vvill be seen that the very few concerts given there during
the last decade of the century were incidental to the energetic but ill-advised
efforts of the Old American Company to include Hartford in their theatrical
circuit from 1794 on. It would be interesting to know what the unsophisti-
cated inhabitants thought when the vocalists and instrumentalists of the
company forced the heavy music of those days on their ears on July 27,
1795^) at the Concert House, and on August 25, 1796*) at the theatre for
the benefit of Mr. Relain. The programs of these two Grand Concerts of
Vocal and Instrumental Music read:

JULY 27, 1795
Pakt I
Grand Overture Haydn

By Messrs. Relain, Hodgkinson, Henri, Beran-

ger, Laumont, Pelissier, Dupuis, Savarin, La

Massue, and Rosindal

Clarinet Concerto Mr. Henri

Song — Hunting cantata 'Hark the sweet horn' .. IVIr. Prigmore
Quartette. Messrs. Relain, Hodgkinson, Laumont,

and Savarin

Harp Solo Mr. Relain

Grand Symphony By Messrs. Relain, etc.

1) Connecticut Gazette, February 2, 1797.

2) Population in 1810 only 3955 inhabitants.

3) Connecticut Courant, July 27, 1795.

4) Connecticut Courant, Aug. 8, 1796.

— 323 —

Part II

Grand Chasse. By Messrs. Relain, etc Stamitz

Solo French horn Mr. Pelissier

Song 'Tom Tackle' Mr. Hodgkinson

Harp Solo Mr. Relain

Clarinet Quartette. Mr. Henri, Relain, Laumont and

Savarin
Grand Symphony. By Messrs. Relain etc Pleyell

AUGUST 25, 1796

I Act.

Grand Symphony, composed by Haydn

Hunting Song, by Mr. Tyler

Harp Concerto, b}^ Mr. Relain

Song, accompanied by the harp Mrs. Hodgkinson

Violin Quartette by Monsr's Relain, Henry, Siruo
and Rosindal

Song Mr. Tyler

Grand Symphony, composed by Pleyel

II Act.
Grand Overture

Song, by Mr. Hodgkinson

Clarinet Concerto by ]\Ir. Henry

Harp Solo, by Mr. Relain

Song, by Mrs. Hodgkinson

Quintette by Mons'rs Relain. Henry, Siruo, Abel

and Rosindal
The whole to conclude with that admirable Symphony

La Chasse, composed by Stamitz

That these were excellent programs, nobody mth historical instincts
will deny and if the inhabitants of Hartford did not journey home with
the impression of having enjoyed "grand" concerts we should pardon them,
knowing as we do that even to-day, at the beginning of the twentieth cen-
tury, similar symphony programs if given in American cities of Hartford's
size in 1796, would very probably cause some uneasiness. Indeed, it may
be doubted whether an American manager of to-day would be bold enough
even to attempt such a "heavy" symphony concert in a settlement of less
than three thousand inhabitants.

CONCLUSION.

THOUGH the inferences and deductions from the data filhng this book
have been drawn in their proper place, it will do no harm to recapitulate
the most salient points.

In the first place, I hope to have permanently crippled the current
notion that secular music had a Cinderella existence in the curriculum of
our musical life during the eighteenth century. In fact, the theory may
be advanced that sacred nmsic was cultivated in America, New England
possibly excepted, neither so steadily no so intelligently and progressively
as secular music. Then the observation forced itself on us that America
joined the movement towards public concerts simultaneously with European
countries 1). This would have gone without saying, had it not become custo-
mary to deny the fact, indeed, its possibility. To compare our achieve-
ments during the formative period of our musical history with the concert-
life at London, Paris, Berlin and other musical centers of the Old World
would be folly, yet, considering the vast difference in opportunities, popu-
lation, travelling f acihties, distances, etc. we may well feel proud of our record.
Music in America was provincial but not primitive.

Being an English colony, our country naturally took England as a model
in musical matters, w^hether they pertained to repertory, customs, or details
of management. The French Kevolution interrupted this predominantly
English current and visibly infused French blood into the musical body.
With the tide of immigration, caused by the outcome of our War for In-
dependence, the cosmopolitan channels gradually widened and soon sub-
merged Colonial traditions. While the tide of immigration added many
capable musicians to the rariks of performers, it also altered the character
of our population in general. The emigrants of about 1800 certainly did

1) To illustrate the point (p. 2, f. n.) that musical societies were founded in
Germany long before 1660 mention should have been made of W. Nagel's instruc-
tive article on 'Die Niirnberger Musikgesellschaft (1588—1629)' in the M. f. M., 1895.
Further data were brought to light by Sandberger in his essay on Hassler in the
Bavarian Musical Monuments, 1905.

— 325 —

not possess the refinement of the Colonials and our musical life suffered
accordingly. This change in the character and attitude of the public together
with the double-edged effects of the expansion of opera undoubtedly pro-
duced towards the end of the century a stagnation of the interest taken
in concerts. How long this stagnation lasted, will have to concern the
historian who attempts to span the bridge between the eighteenth and
nineteenth centuries.

Examining our early concert-life closely, we noticed how instrumental
music was cultivated to the exclusion almost of choral. Efforts were made
to draw the latter forth from the church choirs and singing schools but they
were successful only temporarily or failed entirely. On the whole, vocal
music was represented on the programs of the eightheenth century only by
airs, duets, etc. from oratorios and operas, by popular songs or by catches
and glees. Thus the vocal stars in combination with the "capital" instru-
mentalists gradually gained the upperhand. The programs became more
and more miscellaneous but what they won in variety they lost in solidity.
Yet the symphonies of Haydn and Pleyel, his rival in popularity the world
over, remained the pillars and it cannot be denied that the American public
had ample opportunity to form an acquaintance with their works and those
of the composers of the Mannheim school and many others once in vogue.
Finally, if those musicians who shaped the destinies of our concert -life,
were to be pointed out, we would probably select Francis Hopkinson, James
Bremner, Andrew Adgate, John Bentley, William Tuckey, Alexander
Reinagle, James Hewdtt, Josiah Flagg and William Selby.

INDEX.

A lovely rose 238.

A sailor loved a lass 223.

A S7nile from the girl of my heart 155.

A soldier for me 295. 296. 301.

Abel 245. 246. 262. 273. 323.

Abel, K. Fr. 73. 85. 87. 90. 91. 100. 101.

136. 137. 186. 219. 239.
Abercromby 24.

Abolition of the Bastille, see Demolition.
Absence thou foe to love 54.
Acis and Oalalea 262.
Adams and liberty 213. 216. 218. 219. 243.

246.
Adams, John 99.
Adgate, Andrew 103—120.
Adieu, adieu, my only life 299.
Adieu, thou lovely youth lb.
Adieu to tJte sailor's delight 217.
Adieu to the village delights 95. 200. 210.

233.
Advice to the fair 288.
Advice to the ladies of America 239.
Advice to the ladies of Boston 295.
Ah! hoio hapless 217.
Ah, non sai 96.

Ah, why confine the tuneful bird 29.
Alas! I sigh 227.
Albany, N. Y._ 249.
Alberti, Francis 57.
Alexandria 62 — 63.
Alexis and Justine 148.
Algcrine captive 140.
All in the doivns 268.
Alone by the light of the moon 213. 295.
Amant jaloux 51. 135.
Amant statue 51. 149.
Amateur Society (Charleston) 27.
Ambitious countryman 47.
America, commerce and freedom 64.
Amid a thousand sighing sivains 236.
Amid a thousand singing silvains 146.
Amidst illusions 51. 148.
Amintor 42.
Amizon 275.
Anacreontic song 64.
And all for my pretty Brunette 53.
And hear her sigh adieu 211.
Anderson 302. 304.
Andre 82. 86. 132.

Angels ever bright 97.

Annapolis, Md. 41—43.

Annotated programs 115.

Ansiver to the mansion of peace 196.

Anti-theatre laws 152. 289.

Apollo 272.

Apollo_ Society, N. Y. 201.

Aretiuian Society, Boston 288.

Ariadne 194.

Ariane 134.

Armonica 23. 30. 57. 59. 69. 142. 237. 286.

290. 293. 297.
Armory 232.
Arne 68. 73. 84. 114. 133. 145. 151. 161.

168. 172. 173. 180. 235. 240. 245. 268.

275.
Arnold 302—304. 318. 319.
Arnold, Dr. 51. 80. 114. 118. 202. 279.

299. 300. 301. 314. 315.
Artaxerxes 68. 114. 133. 145. 172. 235.

240. 246. 268.
As late I tvander'd 75.
As sure as a gun 216.
As the snow 47.
As f other day 211.
Asby 265.
Ash, Gilfert 162.
Ask ichy a blush 151.
Aston, Anthony 10.
Atalanta 171.
Atys_235.
Audiences, behaviour, size etc. of 20. 25.

26. 27. 116. 164. 260. 296.
Audin 31.

Auld Robin Gray 55. 145.
Austin 304.
Averdile, see Everdell.
Avery 316.
Avison 170.
Atvake Eolian lyre 95.
Away to the chase 219.
Away to the fields 22. 173.
Azemia 134.

Bach 47. 53. 62. 64. 73. 83. 84. 85. 88.

89. 102. 132. 138. 151. 170. 184. 186.

212. 222. 244. 262. 273. 276.
Bach, C. 184.
Bach, J. S. 6.

— 327 —

Baif, T. A. de 1.

Baildou 95.

Bailv 82.

Baltimore. Md. 43—57.

Baud and band music, see Military music.

Banister, J. 1. 4. 5. 7.

Barbella 73.

Barhier de Sevilla 142.

Barett 245.

Barnard, Ernst 70.

Barron, Oliver 288.

Bartlett 60. 62. 295. 298. 299. 300.

Bataillc de Trenton 38.

Bates 102. 143. 146. 218. 309.

Bates and Darley 101.

Baton 72.

Battle of Debarrie 125.

Battle of Iiry, see Heurv IV.

Battle ojf Prague 49. 54. "59. 61. 147. 148.

149. 150. 200. 240. 249. 292. 301. 308.

322.
Be never Jealous 249.
Be quiet, for Tm in haste 151.
Beissel, Conrad 156.
Belle Arsme 128. 134. 227.
Bellsted 288.
Bentlev, John 78. 125.
Beranger 49. 142. 144. 146. 322.
Berault 215. 246.
Bergman, B. 32. 35. 191. 196. 198. 235.

237. 238. 301. 302.
Berkenhead, John L. 297—299. 300. 302

-304. 312. 314.

, Mrs. 312. 314.

Bernard 151.

Berno 246.

Bertoni 33.

Bethlehem, Pa. 156—157.

Bianchi 95.

Biferi, Nicholas 175.

Billings, William 107. 108. 114. 118. 259.

281. 288. 303. 311. 321.
Bingley 209.
Black cockade 247.
Black slorcn 168. 170.
Blagrove 119.
Blaise et Babette 54. 147. 228. 240. 297.

313.
Blind musicians, see Berkenhead, Salter.
Blodgett, William 313. 318.
Bloir, blo/r tlwu ivinter''s wind 298.
Blyfhe Collin 155.
Blythe Sandy 101.
Boccherini 47. 91. 186.
Bohrer, Morgan & Comp. 20.
Bonnemort 304.
Bonny bold soldier 220. 319.
Bonny Charley 213.
Bonny Jem of Aberdeen 216. 223.
Bonny Will 300.
Borchnv 184.
Borghi"83. 127. 220.
Boston 8—10. 250—309.
Boston news 314.

Bottelswiller 221.

Bouchonv 144. 147.

Boullay," Louis 50. 138. 139. 146. 150.

154. '155. 286. 291—297. 313.
Boyce 151. 263.
Boyer 44.
Brabant 268.
Bradford 186.
Brattle, Th. 9.
Brattle Square Church 9.
Breitkopf & Haertel 156.
Bremner, James 66. 67. 68. 70.
Brenet, M. 1. 2. 4. 6.
Breton 139.

Brett 215. 219-223. 247.
Breval 46.
Breval, J. B. 81.
Brewer 282. 283.

Bright author of my present flame 173.
Bright chanticleer 60. 217.
Brtght Phoebus 288.
Brighton Sly 217.
British fair 248.
British Orenadiers 261. 308.
Britton. Th. 4. 5.
Broadhurst, Miss 51. 102. 143. 149. 150.

151. 156. 199. 201. 209. 213. 241. 242.

243.
Brooke 56. 102.

Brooks 13. 269. 270. 297. 313. 319.
Brown, AAlUiam 43. 80. 82-86. 91-93.

108. 111. 123-132. 184. 185. 224.
Brunette 36. 64.
Buona Figliuola 132. 225. 278.
Burney, Ch. 20. 23.
Buron 48.
Bush Hill, or Pennsylvania Tea Gardens

101.
Butho 75.
Buxtehude 6.
By inoon light 303. 319.
By my tender passion 315.

Calcott 95.

Caledonian laddie 102. 219.

Calligan'304.

Cambini 90. 91. 127. 129. 217. 223. 235.

247.
Cambridge, Mass. 311. 312.
Cammas 227. 228.
Campbell, Henry 11; Sarah 11.
Campioni 129.
Cannabich 212.
Capocchio and Dorinna 42.
Capron, Henri 80. 81-83. 86—92. 125—

128. 129. 130. 132. 138. 186—189. 194.

195. 196. 226-229. 234—238.
Capture 216.

Caravane dii Caire 29. 140.
Carelia song 299.
CarilUon 237.
Carr, Benjamin, 60. 94—96. 97. 102. 147.

149. 151. 197. 198. 240. 241.
Carr, Joseph 54.

328 —

Carrigan, Philip 320.

Carter 296.

Cassignard 137.

Castella 23.

Castle of Andidisia 80.

Castle spectre 316.

Gaze 174.

Cease gay seducers 140. 196.

Cezar, Joseph 137.

Chailleau 52.

Chalmers 313.

Chambers 29. 39. 90. 138. 139. 154. 155.

Champein, St. 49.

Charity children 67. 161.

Charleston, S. C. 10-40.

Charlestown, Mass. 312.

Chateaudieu (Chateaudim) 52. 149.

Cheering rosary 218. 220. 241.

Cherokee chiefs death song 137.

Cherry girl 243.

Cherubini 144. 145.

Chimene 138. 302.

Choral concerts 35. 63. 67. 102—122. 176

— 181. 227. 257. 263. 272. 274 — 281.

284. 288. 294. 298. 302. 307. 309. 312.

313.
Choral societies 103 — 118.
Chorus S2ing before Ocn. Washington 187.

188.
Choruses, size of 110. 177. 179. 263.
Cimarosa 38. 98. 141. 218.
Circe and Ulisses 151.
•Clarinet, introduction of 73. 169. 269.
Clementi 37. 59. 220. 221. 222. 302. 303.
Cleone 248.
Clififord 29. 30. 299.
Clubs, musical, see Societies.
Cobham, William 161.
Colemaun 312.

College, music in 66. 78. 118. 311.
Collet 141. 142. 144. 147. 149. 242. 305.
Collin and Nancy 304.
Collins 295. 298. 299. 300. 314.
Columbia, Columbia, to glory arise 294.
Columbia, or, Harlequin sliipn-reck\l 26.
Columbia Gardens, N. Y. 208. 214.
Columbian Anacreontic Society, N. J.

204—207.

Columbian Vauxhall, Boston 305.
Columbia'' s bold eagle 316.
Come all noble souls 143.
Come buy of poor Kate 216.
Come, come my dear girl lb.
Come hiss me 215. 219. 247.
Come live xoith me 95. 200.
Come rouse brother sportsman 173.
Come thou goddes 299.
Comely Ned 243.
Composer's concert, first 13.
Composition, theory of music, instruction
in 23.

Concert hall, Boston 253. 254. 259.
Concert halls, size of 25. 93.

Concertos 15. 16. 21. 22. 24. 29. 30—33.

35. 37. 38. 45—47. 49. 51-53. 56. 57.

60. 61. 62. 64. 67. 72. 74. 81—91. 94.

95. 96. 97. 98. 100. 108. 114. 119. 121.

127. 128. 129-139. 141—151. 154-

155. 162. 170. 171. 175. 181. 184. 186

—201. 209—212. 215. 217. 225—231.

233-249. 262. 263. 268. 274—278. 281—

283. 286. 290 — 306. 313 — 316. 322.

323.
Concerts, first public in Europe 1—9;

in America 10. 250.
Concord musical society 320.
Conducting 72.
Consort, history of term 11.
Contests musical 321.
Cooper, W. 303.
Corelli 29. 81. 85. 128. 171. 194. 222.

273.
Cornell 219.
Cornet 31.
Corry 150.
Cottage Boy 155.
Cottage gate 304.
Cottage ?naid 299.
Cottage of the grove 241.
Cottage on the moor 218.
Cottager's daughter 215. 219.
Could you to battle march array 196.
Country club 244. 246.
Country courtship 281.
Court one not to scenes of pleasure 199.
Courtney 28.

Courtship and matrimony 53.
Courville, J. T. de 1.
Cramer 38 81. 130. 131.
Craxy Jane 221.
Cries of Durham 54. 55. 143.
Critics and criticism 12. 67. 87. 100. 110.

116. 119. 155. 277. 279. 288. 314. 316. 320.
Cromwell 3.
Crumpto, Billy 72.
Curtz 73.

Cymbaline d'amour 77.
Cymon and Iphigenia 172.

Daguetty 32. 36. 64.

Dalayrac 51. 52. 135. 149. 229.

Danby, John 95.

Dancing, dancing masters 9. 11. 12. 15.

24. 41. 46. 74. 76.
Darley 53. 97. 102. 143. 146. 149. 151.

156.
Daugel 50. 56. 57. 98. 144.
Dauphin of France 288.
Davaux, J. B. 28. 31. 38. 82. 83. 84. 85.

87. 127. 129. 132. 134. 184. 211. 228.
Davey, H. 1. 2. 5.
Davezuc 60.
Dawson 318.
Dead of the night 308.
Dear gentle Kate 95.
Dear Nancy 299.
Dearest youth 219.

— 329

Death stole my lad aicay 220.

Decker 60.

Declang 149.

De Clary 102.

De la coquette volafje 52.

De risle 45. 120. 134. 135.

Demarque 38. 49. 50. 51. 95. 142. 144. 146.

De?7iolition of the Bastille 298-300. 302.

814.
Demophon 144—145. 243. 246.
Deserter 128. 131. 134. 138. 189. 197. 227.

297.
De Seze 196. 212. 234—236. 238. 247.
Deux tuteurs 135.
Deux Savoyards 229.
Deverell 272. 278. 279. 282.
Devienne 62. 149.
De Vmers.32. 33. 36. 37. 38.
Devis 151.
Dezede 54. 147. 197. 228. 236. 240. 297.

313.
D'Hemard 50. 54. 58. 62. 147.
Diana 218. 219.
Dibble 211.
Dibdin 55. 128. 131. 189. 234. 260. 297.

313.
Dick, Elisha C. 62.
Dickey Gossip 213.
Dienval, Alexander Yau 163. 170.
Diug dang bell 140.
Diusmoor, Silas 122.
Dipper, Thomas 254.
Disdainful you fhj me 236. 240.
Dittersdorf 47. 90. 153. 188. 191. 217. 278.

279.
Dolliver. Peter 294. 302. 303. 307. 308. 312.
— . Miss Amelia 299. 302. 303. 307. 308.
Dolly Thimble 308.
Dcolittle. Amos 311.
Douvillier 35. 60. 286. 291. 292.
Down the bourne 216. 221.
Drink to me only 64. 308.
Drop a tear 217.

Dubois 30. 31. 56. 147. 148. 149. 150. 305.
Du Camp 234. 236.
Du Champ 196.
Duenna 81.
Duolap, W. 182. 244.
Diiplessis 93.

Du Poids de la Vienesse 82.
Du Ponceau 114.
Duport, J. L. 88. 148.
Duport, Louis 46. 64. 99. 134. 135. 136.

155.
Duport, Pierre Landrin 46. 64. 136.
Dupuis 212. 322.
Dussek 30. 52. 96. 219—221.
Dust last 22.
Dutch fish monger 308.
Diival 60. 61.

Echoing liorn 15.
Eck(h;ard 30. 36. 38.
Edebnann, J. F. 59. 134.

Edgar 37.

Eichncr 81.

Eickner 222.

Eic, nay John 218.

Eissenburg, George d' 70.

Ellen 304. 319.

Ellen arise 149. 223.

Elson, L. C. 1. S. 253. 321.

Ely, John 118.

Eiianuel 45. 47. 58. 121. 134.

Encore, term first used 314.

English padlock 248.

Enstone, Edw. 9.

Ere I fly to meet 215.

Erimbert 35.

Essex Musical Association 321.

Esther 33. 307.

Euphrosine et Corradin 235.

Euterpean Society. N. J. 203.

Everdell, George "201. 210. 213. 214. 242.

245.
European opinion of music in America

45. 65.

Faint ayid tcearili/ 308.

Fair Flora decki 217.

Fai7- Rosalie 303.

Fair Fosaline 217.

Fed la la 308.

Fanatico burlato 141.

Fare thee well 215.

Father, mother and Luke 213.

Father of Nancy 219.

Fausse magie 134. 238.

Feckner 302. 304.

Federal overture 60.

Felix 227. S28.

Felsted, Samuel 202. 226. 278. 283.

Female cryer 211. 213. 217. ^_

Festivals, musical 34. 108. 275.

Fialla 82. 130.

Fille a Simonctte 64.

Filtz 221. 273. 281. 290.

Fiorillo 81. 82. 132.

First concert in America 10.

First of my amours 213.

Fis(c;her, J. C. 33. 60. 86. 101. 184. 314.

Fisher^s minuet 153.

Flagg, Josiah 261—264. 298.

Flight of fancy 47.

Floquet 138. 139.

Flower girl 149.

Flowing can 300.

Fodor 45. 134. 137. 142. 314.

For England, etc. 300.

Forrage, Stephen 69. 75.

Foucard 29. 32. 33. 36. 37. 38. 139. 155.

286. 291. 292.
Four hands, music for 38. 49. 58. 131.

196. 201. 214. 246. 249. 315.
Fox 56. 215. 219. 222. 223. 247.
Fox chase 216. 221.
Fraenzl 303.
Fragrant chaplets 220.

— 330

Frauceschiui 22. 24. 184.

Francesqiiy 30.

Franks, Kebecca 78.

Frederick the Great 85.

Fredericksburo;. Va. 58 — 59.

Free Masons 78. 161.

French opera 27. 227.

French Revolution, influence of 46. 48. 49.

133. 227.
Frescatana 218.
Frobel 62. 227.

From night till morn 64. 155. 299.
From scenes of love 213.
From the East breaks the morn 262.
From the Elha 212.

Galley slave 146. 150.

Garnet, Horatio 319.

Garth 86.

Gaifdy tulip 248.

Gaultier 144. 145. 146.

Gay Strephon 42.

Gee, Mrs. 47.

Gehot, Jean 88. 89. 90. 91. 138. 154. 155.

191. 230.
Geib, Adam 201.
Geminiani 67. 73.
General lover 53.
Generous ivine 197.
Gerin 141.
Giardini 73.
Gilfert, C. H. 246.
Gilfert, George 202. 212.
Gillian of Craydon 5.
Gillingham, Georges 54. 65. 56. 94. 95. 96.

98. 142. 143. 144. 145. 147. 149. 151.
Giordani 62. 84. 146. 151. 187. 228. 313.
Giornovichi, see Jarnowic.
Give the street delight 215.
Glees 30. 54. 55. 56. 81. 89. 95. 96. 97.

128. 143. 149. 151. 154. 155. 200. 205.

210—212. 215. 217. 233. 238. 240. 245.

274. 298. 299. 300. 316.
Gloesch 191.
Gluck 34. 37. 49. 134. 146. 147. 149. 246.

292. 293. 294.
God. save tlie King 76. 179.
Godwin 25.
Gorner, Joh. G. 6.

Gossec 29. 85. 86. 186. 187. 188. 268.
Gouy, J. de 4.
Graflf 102.
Granger, Frederick 293. 299. 300. 302. 304.

313—316.
Grattan, Mrs. 37. 38. 96—98. 147. 246.
Graupner, Gottlieb 33. 60. 306. 308. 314—

316.
— , Mrs. Catherine (see also Hellyer) 60.

306. 307. 309. 314—316.
Gray's Gardens 99.
Gray Jane 247.

Great North American Forte Piano 123.
Green, Dr. 119. 282.
Green Mountain farmer 215.

Green Sleeves 5.

Gretry 29. 4.5. 51. 61. 81. 82. 86. 134. 135.

139. 148. 218. 228. 236. 238. 291. 292.

300. 313.
Grey 144.
Grider, R. A. 157.
Group of lovers 220. 222.
Grunzweig, Frederick 14.
Gualdo, Giovanni 66. 70—74.
Guenin 31. 138. 139. 142. 146. 149. 150. 154.
Guglielmi 47. 85. 187. 218. 268.
Guitar 22. 29. 32. 76. 86. 130. 131. 137.

175. 188.
Gyrowetz 30. 38. 56. 192. 198. 199. 219.

232. 242. 244.

Had I a Jieart for false-hood train d 101.
Handel 15. 33, 63. 60. 62. 73. 85. 95. 96.

97. 109. 114. 138. 145. 151. 162. 168.

171. 174. 180. 181. 184. 194. 201. 225.

257. 262. 263. 273-279. 282. 283. 298.

303. 307. 320.
Hail Colmnhia 38. 55. 213. 219. 242.
Hail social pleasure 212.
Hale, Ph. 115.

Hallam 16. 72. 168. 170. 173. 179. 215.
Hanovertown 58.
Hanslick, Ed. 7.
Hanston 53.

Happy rencontre 239. 295.
Happy shepherd and sliepherdcss 42.
Harding 215. 223.
Hardinge 55.

Hark the hollow hills 211.
Hark the lark 212. 233. 240.
Ha,rk the stveet horn 322.
Harman 146. 173.
Harmonia celesta (instrument) 232
Harmonic Society, Charleston 28. '
Harmonic Society (Fredericksburg) 58.
Harmonic Society, New York 166. 170,

171. 174. 201. '
Harmonic Society, Phila. 122.
Harmonica, sec Armonica.
Harmonical Society, N. Y. 207.
Harmony Hall, Charleston 25.
Harp 49. 50. 51. 55. 62. 137. 138. 141. 142.

155. 196. 199. 234—236. 238. 247. 322.
Harper 132. 154. 155. 292. 318.
Harris, J. H. 35.
Harrison 315.
Harrison, Thomas 169.
Harrowgate, Phila. 100.
Hartford, Conn. 322.
Hartley, Thomas 21. 256. 260.
Hasse 15. 162.
Haunted toiver 315.
Hawkins 3. 4.
Havdn, J. 28-32. 34. 37. 38. 49. 51. 52.

53. 55. 56. 57. 81—86. 88. 89.<^81. 94—

96. 98. 100. 128. 131. 137. 141. 142. 143.

146. 147. 148. 151. 152. 154. 155. 184.

186. 192—196. 198—201. 209-212. 215.

217—223. 225. 226. 230. 232—236. 238.

— 331

239. 241-243. 247. 249. 290. 291. 293—

295. 298. 302. 305. 314. 316. 322. 323.
Hay;e 189. 229.
He pipes so siccd 314.
Bearing of the lead 249. 295. 304. 308. 319.
Hedderly 102.
Heim 120. 121.
Heimberger 82. 83.
Heinrichs, Joh. 78.
Heiress 216.
Hellver 300.
Henderson, W. H. 71.
Henri 141. 322. 323.
Henry 24. 95. 96. 118. 186. 215. 218.

242-244. 246. 247.
Henrij IV. 29. 32. 33. 36. 57. 141. 150.

189. 197. 199. 227. 237. 243. 286. 290.

292. 293. 300. 303.
Henri/ lov'd his Emma 247.
Heriry's cottage maid 223. 304. 319.
Here in cold grot 212.
Here's a health, etc. 289. 299.
Herman 305.

He's age a kissing me 222.
Heuss, A. 2.
He^ill. 318.
Hewitt, James 101—193. 196. 197. 198.

199. 200. 205. 209. 210—212. 214. 215.

217. 220. 230. 232-242. 246.
Hcg dance 314.
Highborn queen 248.
Highland laddie 213. 215. 237.
Hill 97

Hill E. B. 253. 271.
Hipworth 298. 299. 300.
Hoar 173. 248.
Hodgkinson 87. 88. 89. 90. 138. 139. 140.

192. 193. 194. 195. 196. 197. 198. 200.

205. 214. 219—223. 233. 234. 236. 237.

240. 246. 247. 322. 323.
Hoffmann 73. 244.
Hoffmeister, Fr. A. 29. 218. 221 233. 239.

286. 293. 295.
Hogg 214.
Holden, Oliver 303.
Holt, Henry 14.
Holy Lord 96.
Holyoke, Samuel 321.
Homanu (Homman) 102. 144. 146.
Houauer, L. 23.
Hook 146. 151. 299. 314.
Hoot aiva ye loon 213.
Hope 240.

Hope thou balmy comfort shed 218. 244.
Hopkinson, Francis 66. 68. 70. 75. 78. 106.

109. 127.
Horn 15. 22.

How can I forget 211. 213.
How charming the camp 223.
How d'ye do 211. 212. 223. 314
How great is the pleasure 210.
How merrily we live .64. 55. 155. 211. 212.
How shall we tnortals 217. '

How sweet in the woodlands 151. 196. 308.

How sweet is the breath oftnorn 196.219.
How sweet is the morning 151.
Hudgson 173.

Hulett, John Hamilton 201. 236.
Hnlett, William C. 76. 163. 165. 166. 170.

171. 201.
Humanity 197.
Humphreys 21. 171. 263.
Hxmtlev, "Miss 42. 47. 140. 145.
Hupfeldt, (Hupffield) 56. 57. 98. 102.
Hush every brcexc 300.
Hutter 156.
Hyde 85. 184.
Hymen's evening post 213.

/ attempt from love's, etc. 221.

/ can't for I'm in haste 53.

/ dare to meet, etc. 227.

/ die for no shepherd 216.

/ //?/ to meet my love 217.

J never loved, etc. 210.

I tvonder at you 151.

If 'tis Joy to tvound a lover 184.

Imprisonment of the rulers of France 51.

In my j)lcasant native x>alms 216.

In the bosom of a father 227.

In vain I deck 221.

Incitement to virtue 197.

Independent Musical Society , Boston 283

—285.
Independent we tvill be 245.
Infancy, the cruel tyrant lb.
InfoMt of Zamora 134.
Instruction, music 9. 103 — 106. 130. 181.
Iphigcnie [en Aulide) 34. 49. 134. 146.

147. 149. 246. 292. 293. 294.
Italian opera 27. 45.

Jack at the windlass 218.

Jack Junck 216.

Jackson 73, 97. 129. 168. 169.

Jacobi, John Owen 317.

Jane of Aberdeen 216.

Jarnowic. G. M. 29. 32. 35. 37. 46. 51.

53. 56. 61. 84. 96. 142. 144. 150. 305. 315.
Je ne seat quoi 51.
Je ne vois 216.
Jealous man 197.

Jefferson 210. 213. 215. 223. 242-245.
Jemmy of the glen 243. 296.
Jephta 194.
Joan, see Juhan.
Jockey and Moggy 42.
Johti Bull 2vas a bumpkin born 213.
John come kiss me 5.
Jo/m loves Jane 218.
Johnson 241.
Johnston, Thomas 313.
Jonah 202. 226. 278. 283.
Jones 298. 299. 300.
Joy of the chase 222.
Judas Maccabeus 33. 174. 194.
Juhan, Alexander 80. 82. 83. 108. 111. 112.

113. 124. 127. 128. 130. 131. 265.

— 332 —

Juhan, (Joan), James 123.124.127. 130. 264

—265.
Just in time 313.

Kalkbrenner, G. 48.

Kammel 81. 83. 84. 133. 137. 153. 184.

202.
Kate of Aberdeen 140. 308.
Keefe 202.

Keep your distance 209.
Keiser, R. 6.

Kelly, Lord 68. 72. 73. 82. 263. 268.
Kendall. William 309.
Kenua 136.

Killarney is a charming place 296.
Kind Zephyr 199.
King 238.
King, Grace 64.
King's Arms Garden 168.
Kiss 213. 245.

Klemm, Joliann Gottlob 169.
Knoetfsjchel 270. 317.

, John Ernest 317.

Knotving Joe 213.

Kotzeluch 32. 53. 90. 141. 210. 211. 215.

217. 219. 220. 222. 247. 315.
Kotzwara 49. 54. 148. 149. 292. 301.
Krehbiel, H. E. 115. 161. 169. 179.
Kreutzer, R. 211. 219. 220. 221. 246.
Krumpholtz 37. 98. 141. 142.
Kuhn, Dr. 66.
Kullin 58. 188. 228. 229.

La Barre, Trille 304. 307.

Labatut 38.

Labbe, Anthony 19.

Lachnith 81. 82. 86. 100. 190.

Ladies'' new patriotic song 216.

Lads of the village 288.

Lafar, Joseph 25. 27. 36.

Lake of Killarney 221.

La Massue 322.

La Mausse, de 244.

La Motte, de 30. 135.

Lancaster, Pa. 156.

L'Argeau, George James 41. 43.

L'Arnaud 52.

Larne 144.

Lash'd to the helm 151.

Lass with one eye 248.

Last shilling 223.

Laughing song 223. 225.

Law, Andrew 123.

Leadbetter, James 169.

Learned pig 223.

Leaumont, R. 302. 304. 305. 307. 314. 316.

322. 323.
Le Brun 316.

'Lectures, moral and entertaining' 152.
Le Due 60.
Lee 201. 210. 211. 215. 217. 218. 241. 242.

244. 245.
Lefevre 144. 146.
Leffler 212.

Legat 36.

Le Moine 61.

Leonard, Jacob 163. 166. 167. 169.

L'Epouse 304.

Le Roy 29. 32. 292.

Lesire 83.

Let fame sound the trumpet 217. 244.

Let me wander 151.

Letuz 60.

Liibcrty song 263.

Libeschesky 242—244.

Life's a country dance 215. 220. 221.

Lightly tread 155. 212.

Linley, F. 308.

Linley, Th. 62. 81. 95. 151. 314.

Linnets 173.

Lionel and Clarissa 259.

Listen to the voice of love 39. 304. 308.

Little farthing rush-light 213.

Little Felix 301.

Little Sally 212. 220. 308. 314.

Little thinks the soldier'' s tcife 220.

Little 7vaist 222.

Loch and key 314.

Jjodoiska 246.

London 1 — 5.

Jjondon buck 221.

London sportsman 223.

Loose were Iter tresses 39. 62.

Louisa 102.

Love, Charles 169.

Love for Love 221.

Love sounds an alarm 62. 263.

T^ove thou teaxing pleasing pain 235.

Lovely lad of the lowlands 235.

Lovely lass 272.

Lovely man 39.

Lovely Nan 211.

Lovely nymph 304.

Lover's petition 132.

Luby 188.

Iiacy 147. 210.

Lullier 142.

Lute 49.

Lyon, James 108. 114. 247.

M'Donald 102. 151. 213. 215. 248.

M'Lean, John 75. 174. 260.

Madeira, L. C. 77. 91.

Magic lantern 302.

Mahoy 184.

Major Andre'' s farewell 288.

Mallet, Francis 154. 155. 286. 291-294.

297. 299. 300. 302. 304. 305. 307. 313

—316.
Man and his wife 221.
Management of concerts (special data) 19.

20. 25. 26. 39. 58. 61. 67. 68. 73. 75.

76. 79. 93. 94. 97. 109. 113. 117. 123.

164. 183. 189. 191. 195. 224. 279. 307.
Mandolin 73. 74. 76. 175.
Mansion of peace 95. 196.
Marc, S. 52. 53.
March 244.

333

146.

. 68.
131.
227.
300.

Maria 300.

Maria's cvniing song 26.

Mariners 97.

Market lass 304. 319.

Marpurg 6. 11. 35.

Marseillaise 54. 59.

Marshall 39. 61. 53. 55. 56. 143. 145.

148. 149.
Martini J. P. E. 29. 32. 33. 36. 57

82. 90. 94. 100. 101. 108. 114. 125.

141. 150. 189. 197. 199. 211. 226.

237. 243. 286. 290. 292. 293. 297.

303.
Mary's dream 133. 319.
Masquerade 222.
Massonueau 37.
Mattheson 6. 7. 179.
Maxwell 302.
May Day 248.
May ere 173.

May I never be married 218.
Mazzanti 166, 174.
Mechtler 141. 142. 190. 292.
Meg of Wapping 245. 308.
Mehul 235.

Melmoth 232. 236. 240. 241.
Melodramatic music 240.
Melomanie 49.
Menel 55. 56. 94. 95. 96. 98. 142.

144. 147. 148.
Mersenne 2.
Messiah 33. 53. 60. 109. 114. 118.

181. 184. 194. 200. 201. 225. 263.

275. 278. 279. 282. 283. 298. 303.

321.
Mestrino 137.
Mezger 82. 233.
:Michel (Michel Yost) 28. 32. 37. 57. 148.

149. 150. 303.
Milico 38.
Military bands and music 39. 75. 95. 99.

102. "151. 173. 182. 214. 218. 257. 260.

261. 262. 268. 269. 273. 312. 318. 319.
•Miller. WilHam 46. 48.
Mills 322.
Min(i;ere 220. 246.
Miuschini 222.
[Mitchell 245.
Mittelberger, Gottlieb 65.
Mizler, L. 6. ^
Moggy Lauder 59.
Molier, John Christopher 87. 89. 90. 91.

138. 142. 199. 200. 201. 211. 212. 214.

215. 217. 227. 241. 246.

Mrs. 241.

Molier, Lucy 89. 90. 136. 201. 210-212.

242.
Monchausen 221.
Monsigny 83. 128. 130. 131. 134. 138. 144.

189. 227. 228. 297.
Morel 102.
Morgan, W. S. 256. 258. 262. 263. 265

-268. 274.
Momington 95. 96.

143.

180.
274.
307.

Morris. Mrs. 47. 154. 155.

Mount Vernon Garden, N. Y. 208. 214. 219.

Mountaineers 300. 301.

Mozart 37. 82. 188. 247.

Mr. Spanker 143.

Mrs. Til rale's three warnings 151.

Muck(e) 102. 304.

Munto 315. 316.

Murphy, William 44.

Music "stores 25. 36. 44. 54.

Musical glasses, see Armonica. i__-

Musical Society (Baltimore) 56.

Musical Society. Boston 275—281. 282.

Musical Society of the City of N. Y. 202.

Musteropo 212.

My dear Mistress 268.

My Henry swore 301.

My love's on shore 222.

My Poll and my partner Joe 154.

My poor dog Tray 223.

Myler 245.

Nabob 296.

Nagel, W. 324.

Nails, iron, instrument of 227.

National holidays, music on 101. 102. 215.

216. 252. 294.
Neering, Henry 169.
Nef, K. 2.
Negro boy 218. 243.
Neighbor Sly 54.
.Nelson 64. 295.
Newark, N. J. 248.
New Hayen, Conn. 321.
New London, Conn. 322.
Neiv Minstrel 272.
New Orleans 64.
Newport, R. J. 13. 317.
New somebody 149.
New York 10. 158-247.
Nicih ola(s) 201. 242. 245.
Nicolai 59. 141.
Nicol;ai 213. 241.
Nina 237.

No more I'll heave, etc. 210.
No, not yet 247.
No that tvill never do 211. 212.
No fivas neither shape nor feature 132.
Noel 246.

None so pretty 234.
Nottg long paw 213. 219.
Norfolk, Va. 59—61.
North, Roger 1. 2. 5.
Niirnberger Musikgesellschaft 324.
Nugent 302.

0 come, sioeet Mary 241.

0 dearly I love 216.

0 filii, 0 filiae 61.

0 gentle maid 130.

0 listen, etc. 319.

0 Nancy wilt thou, etc. 199.

0 Eichard my love 306.

0.' Joung Jockey 75.

— 334

Ode for the Neto Year 272.

Ode in honour of Oeneral Washington

271.
Ode on his Excellency Gen. Washington

288.
Ode on musick 272.
Ode on the restaitration of peace 169.
Ode to Gohi?nbia''s favourite soti 283.
Ode to Independence 272. 294.
Oh dear, what can the ^natter be 54.
Oh/ my Delia 268.
Old Siyyion the King 5.
Old Tom Day 299.
Old Totvler 211. 218. 308.
Old tt'oman of eighty-three 42.
Oldmixon, Mrs. 51. 63. 142. 143. 145.

151. 210. 213. 215. 217.
Olios 42. 47. 140.
On board the Arethnsa 308.
On by the spur of valeur 154. 314.
On the lake of Killarney 213.
On the rapid tvhirlwind'' s tving 302.
07ie short moment 211.
Open-air concerts, see Summer concerts.
Opera 10. 14. 24. 25. 26. 27. 45. 98. 122.

135. 138. 163. 214. 260. 290. 311.
Oratorios 33. 60. 121. 181. 192. 193. 194.

203. 226. 275. 283. 307.
Orchestras formation of 18. 34. 75. 100.

102. 110. 120. 144. 177. 179. 263. 304.

314.
Organ and organists 9. 13. 15. 36. 40.

53. 66. 77. 102. 159. 162. 169. 214.

254. 257. 259. 262. 263. 269. 270. 294.

297. 303. 307. 313. 316. 317. 322.
Organ recitals, first 308. 313.
Organized pianoforte 58.
Orphaeus Society 21.
Orpheus Club 66.
Otho 95.
Overtures 15. 16. 28. 29. 30. 32. 33. 35.

37. 38. 45. 47. 49. 52. 53. 54. 56. 57.

60. 61. 62. 67. 68. 72—75. 81-91. 94.

95. 96. 98. 100. 102. 108. 114. 118.

119. 120. 121. 128. 129. 130-139. 141

—155. 170. 171. 186-202. 209—212.

215—223. 225-227. 229-233. 236-

241. 243—249. 262. 263. 263. 268. 274

—279. 281. 286. 290—309. 313. 315.

322. 323.
Ower of Qlandower 218.
Oxford 3.
Oznabluth 102.

Pachelbel, Charles Theodore 13. 158. 317.

Packrow, William 21.

Paderchi 212.

Paine, Th. 316.

Paisiello, 97. 134. 142. 144. 218.

Palma, John 65.

Panutge 95.

Pastor Fido 263.

Pat of Killarney 239.

Pauvre Jacqiie 296.

Pedal harp 62.
Pelham, Peter 251.

, Peter, jun. 251.

Pelissier, Victor 90. 137, 138. 195. 196.

235. 238. 239. 244. 322.
Pellegrino 73.
Pellier (de) 238. 239. ,
Pelosi, Vincent M. 99.
Penn. John 66. 70. 75.
Pepys 2.
Perdoni 212.
Pergolesc 45.
Perkins 213. 245.
Pesch 81.

Peter de Great 218.
Petersburg, Va. 59.
Petit 29. 32. 33. 36. 37. 38. 102. 138.

139. 154. 155. 290. 291-193.
Petri, John S. 179.
Philadelphia 65 — 156.
Phile, Philip 43. 94. 100. 114. 124. 132.

133. 153. 202. 225.
Philharmonic Society, Boston 309.
Philharmonic Society, N. Y. 107. 204. 206.

208.
Philidor 6.
Phildjips 191. 192. 193. 194. 195. 230.

231.
'Piano used', first instance of 228.
Pianoforte, introduction of 81. 123. 127.

129. 130. 225. 228. 265.
Piccinni, N. 61. 132. 225. 235. 273. 278.

279.
Pichl 98. 138. 190. 198. 199. 200. 212.

220. 221. 229. 286. 299. 327.
Pick, Jacobus 30. 59. 286. 290—294. 297

302. 305—307. 313.
, Mrs. 30. 31. 59. 61. 63. 297. 305

—307. 313.
Piercon 201.
Pike, Thomas 15.
Pipe upon tJie mountain 221.
Pirates 96.

Pity then my tortured heart 151.
Placide, Alexander 36. 39.
Placide. Mad. 31. 37. 38. 39. 292.
Played in air 316.
Pleasures of London 218.
Pleasures of the chase 308.
Pleval 199.
Pleyel J. 28. 29. 30. 32. 37. 38. 47. 49.

51. 53. 67. 56. 59. 60. 62. 89. 90. 91.

95. 96. 97. 98. 102. 137. 138. 141.

142. 143. 144. 145. 147. 148. 150. 155.

189—191. 193—201. 209—212. 215—

217. 219—223. 227. 229—231. 233—

235. 237. 239. 240—244. 246. 247. 290.

201. 293. 295. 302. 303, 305—307. 313

—315. 323.
Ploughboy's escape 300.
Ploughman turned sailor 299.
Poiteaux 34.
Poition 29.
Poll of Plymouth 238,

— 335

Poloniska 211.

Polyln-muian Society, N. Y. 204.

Poor fcinalc ballad singer 140.

Poor Jack 295.

Poor little gipsy 211. 218.

Poor little negro 60.

Poor Richard 197.

Poor Soldier 84.

Poor Thomas Day 64. 217. 295.

Poor Tom Bowling 154. 155.

Portland, Me. 319.

Portsmouth. N. H. 319.

Powell 290. 292. 294. 298. 305.

Pownall, Mrs. 32. 33. 34. 35. 36. 138.

139. 141. 192. 193. 195. 196. 197. 198.

233-236. 238. 239. 295. 296. 301.

, FeHx 301.

Prati 83. 85.

President's march 62. 53. 102. 149. 187.

301.
Price 9.

Prie, Mad. de. 6.
Priest, William 144. 145. 156.
Prigmore 60. 196. 197. 233. 322.
Primrose girl 193. 217. 221. 304.
Primroses deck 62. 95. 97. 140. 151. 217.

296.
Princeton, N. J. 248.
Prithee fool be quiet 216. 219. 221.
Procter 163.
Prodigies 30. 40. 46. 49. 52. 54. 58. 59.

72. 89. 99. 135. 136. 147. 150. 171. 227.

228. 245. 299. 301. 309. 318. .322.
Program mu&ic 89. 193. 198. 212. 230.

233. 236. 238.
Programs, printed 11. 34. 67. 68. 69. 72.

107. 113. 129. 181. 268. 274.
Propert. David 256—258. 265. 267. 269.
Providence. R. I. 318.
Pfolomy 262.

Public 'opinion 87. 100. 164.
Punto 146. 314.
Purcell 161. 173.
Puzzlestopper 222.

Quartets 29-31. 38. 48. 49. 52. 62. 74.

81. 83-91. 95-98. 121. 127. 132. 133.

137. 138. 139. 141—143. 149. 154. 155.

184. 186. 188. 191—194. 196. 198. 211.

212. 217. 225—227. 230. 232. 233. 235.

238. 239. 241. 245. 291—293. 297. 302

—305. 313. 314. 316. 323.
Quin 159.

Quintets 56. 57. 143. 146. 184. 212. 2.36.
. 247. 290. 307. 323.

Ranelagh Gardens 166. 213.

Rankin 101.

Rausch. Frederick 195. 196. 199. 200.

203. 209. 235.
Ray 278. 283. 307.
Rea 279. 282. 307.
Read, Daniel 311.
Reeve, W. 145.

Reeves 303.

Rehine 132. 133.

Reinagle. Alexander 46. 49. 56. 80. 82—

95. 120. 128. 129. 130. 131. 132. 134.

136. 143. 154. 155. 185—188. 225. 226.

290.
Relain 137. 199. 322. 323.
Remembrance 197.
Renaud d'Ast 52.
Revolution, war of the 76—78. 182—184.

287.
Rhea, Alexander 63.
Ricci, P. 262.
Rice, John 159. 169. 252.
Richard Cocur de Lion 45. 135.
Richmond, Va. 61 — 62.
Rise, Cynthia rise 152.
Ritter, F. L. 180. 181. 301. 203. 224.

289.
Robbin 60.
Robins, 233. 238.
Roeser 89.
Rogerson 283.

Rose et Colas 83. 130. 134. 144. 189.
Rose of Sharon 107. 114. 118.
Rosendall (Rosindal) 198. 322. 323.
Rosetti 54. 84. 191. 193. 235.
Rosier 146. 305-307. 314. 315.
Rosiere [de Salenci) 61. 313.
Rosina 82. 83. 129.
Roth, Philip 75.
Rousseau, J. J. 147.
Rowe, John 257. 260. 271. 321.
Rowson 152.
Ruby Aurora 212.
Rule Britannia 75. 169. 170.
Rural retreat 272.
Rustic courtship 140.

Sacchini 37. 60. 97. 138. 147. 229. 302.
Sacred music, concerts of, etc. 33. 44. 60.

63. 67. 106-122. 161. 176—181. 184.

192. 193. 144. 226. 257. 263. 274—281.

283. 284. 288. 294. 298. 303. 307. .309.

312. 313. 316.
Sailor boy 213. 219. 244.
Sailor's journal 221. 308.
Saino 220.
St. Aivre 227. 228.
St. Armand 302.
St. Brides bells 102.

St. Caecilia Society, Newport, R. I. 317.
St. Cecilia Society, ^N. Y. 190. 203,
St. Ccecilia Society, Charleston 16—19. 22.

23. 24. 27. 28. '40.
St. George 134.
Salem, Mass. 312-316.
Salieri 148.
Salimeut, George Edward 188—190. 195.

196. 197. 198. 199. 200. 201. 210. 212.

215. 217. 229. 231. 233-236. 238. 240.

241. 246.
Salter, D. 40. 59. 62. 248. 322.
Salter, John 11. 12.

— 336

Samfm)o 210. 245.

Sandberger, Ad. 324.

Sam{})]son 33. 145. 194. 225. 276. 278. 279.

282. 283.
Sanely^s tale of love 223.
Sarti 84. 86. 96. 131. 132.
Saturday nigtli at sea 152.
Sa^(l 171.
Saunders 21.
Savannah, Ga. 63—64.
Savarin 322.

Say little foolish fluttering thing 248.
Schaffer. Francis (?., (Scheifer, Shaffer) 302.

304. 306. 307. 314.
Schetkv, J. George, Shetkvi 50. 56. 85.

86. 102. 144. 148. 149. 160. 240.
Schmidt 193.
Schmidt, J. H. 53. 249.
Schmitt 100.

Schmittbauer 82. 191. 211.
Schneider, John 70.
Schroeter 84. 85. 86. 87. 186.
Schultz 100. 133.
Schwindl 262.
Scornful lady 42.
Seiffert, M. 2.
Seilhamer 24. 36. 152. 155.
Selby, William 263. 268-287. 293-295.

313. 317.
Sellenge7-'s Round 5.
Sembianze amabili 95.
Serva Padrona 45.
Seventeenth century, music in America in

the 7—8.
Sewall 8.

Sewell 187. 188. 226.
Seymour 211—213. 217-220. 242—245.
Sham concerts 25. 26. 153.
Shapter 215. 217. 218.
Shaw, Mrs. 64. 55. 60. 61. 95. 144. 145.
Sheaf(e), William 252.
Sheep til her clusters 248.
Shepherd^s hoy 220.
Shepherd's lottery 263.
Shield 62. 82. 83. 84. 85. 129. 146. 148.

151. 304. 314.
Shiptons 201.
Siege of Belgrade 95. 306.
Siege of Gibraltar 52,
Siege of Valenciennes 51.
Sigh no more ladies 39. 62. 96. 149. 164.
Stiver moon 215. 216.
Singing girl 219.
Singing schools 44. 103-118. 122. 274.

310. 320.
Siruo 323.
Sittard, J. 6. 180.
Smith 75. 234. 288.
Smith, J. Chr. 127. 136. 275.
Snitzler, Jolm 257.

Societies, musical 1—9. 16. 21. 27. 2S. 56.
58. 66. 94. 166. 170. 171. 174. 190. 201—
208. 258. 275—285. 288. 298. 309. 317.
320. 321. 324.

Society for promoting vocal music, N. Y.

202.
Society of the sons of Apollo 298.
Sodi, Pietro 24. 76. 175.
Soldier's adieu 218. 221.
Solomon (Salomon; 137. 138. 146. 229. 289.

314.
Sonatas 22. 29—31. 38. 47. 49. 51. 52. 56.

59. 60. 68. 76. 81-83. 85. 89. 90. 91.

120. 128. 129—132. 136—139. 144. 145.

147. 149. 151. 154. 155. 176. 186—189.

196. 197. 199. 212. 226— 227. 234. 235—

237. 240. 241. 249. 286. 290. 292. 293.

295. 305. 307. 315.
Song recital, first 13.
Sons of Columbia 312. 314.
Spiccato 304. 307.
Spicer, Ishmail 44.
Spillane, D. 8.
Spinning lelieel 72.
Spirits of the blest 150. 151.
Spitta, Ph. 2.
Stafford, Geoffrev 8.
Stamitz 46. 60. 67. 81—87. 90. 91. 96. 100.

127. 130. 132. 136. 137. 155. 184. 186.

187. 193. 194. 197. 209. 211. 212. 217.

219—222. 226. 232. 236. 247. 249. 262.

268. 296.
Stamitz, J. 187. 188.
Stamitz, Karl 32. 129. 188. 190. 191. 210.

221. 227. 230. 297. 302—304. 313. 323.
Stamper 269.

Stanley 15. 73. 86. 87. 170. 262. 262. 275.
Steibelt 59.
Stephenson 288.
Sterkel 217. 219—221. 247.
Stevens, John 63. 95.
Stewart 144.
Stieglitz 267-269.
Stone 286. 290. 293. 395. 296. 298. 299.

302-306.
Storace 95. 96. 160. 306. 315.
Storer, Maria 24. 173. 179. 225.
Stotherd 22. 170. 181. _
Stoughton Musical Society 321.
Stuart 95.
Sully 29. 31. 39. 59. 61. 63. 64. 144. 145.

305.
Summer concerts 19—21. 31. 39. 64. 57.
98—102. 166—168. 208-223. 225. 239.
306.
Sweeny 304.
Siveet content 51.

Siveet echo 51. 220. 233. 236. 243. 295. 301.
Stveet hope 227.

Siveet is the breath of morn 223.
Sweet lass of Richmond hill 211.
Sioeet lillies of the valley 236. 237. 308.
Siveet little qirl 308.
Sweet Myrd 217.

Sweet Nan of Hampton Green 213.
Siveet Niglitingale 60.
Siveet Poll of Plymouth 295. 296.
Sweet Willy lb. 248.

337

Sylvain 135.

Sympathdir echo 197. 237.

Symphonies 28—33. 37. 38. 45. 49. 61-53.

57 62. 64. 74. 76. 81—91. 96. 98. 100.

102. 127. 128. 130-139. 141. 142. 146.

147. 148. 153. 155. 175. 184. 188-191.

193. 194. 196. 198. 199. 202. 209—211.

215. 217. 219—223. 226 - 230. 232—235.

238—242. 244—249. 262. 268. 273. 274.

282. 286. 290—307. 314. 322. 323.

Tablet 43.

Talhj ho 85. 101. 218. 222. 233. 235. 239.
295.

Tautimj 212. 216.

Tar for all iccatlicrs 218.

Taylor, Ravnor 41-43. 47. 140. 144. 145.
151.

Teleman 6.

Temple of Minerva 78.

The bird tvhen summers 216.

The black bird's a sweet ichistle 306.

The bleak wind ivhistlers 197.

The gray mare's the best horse 42.

The lark's shrill notes 22. 101. 138. 184.
296.

The ling'' ring pangs 95.

The merry maids, etc. 222.

The moment Aurora 219.

The Soldier tir'd etc. '85. 145. 171. 184.
213. 215. 233. 246. 268.

The stag thro' the forest 299.

The sweet little girl 211.

The sword that's drawn 162.

The topsail shivers 308.

The traveller benighted 155.

The Way tuorn traveler 51. 59. 142.

Theory of music, instniction in, sec com-
position.

They say there is echo here 233.

Thibaut 142.

Tho' by the tempest 199. 210. 212.

Thomas and Sally 26.

Three flutes 299.

Three siveethearts I boast 210. 212.

Thro woodlands and forests 47.

Tiesseire 52.

Tilliere, (Tillier) 81. 82. 84.

Time has not tJiinn'd my flowing hair 64.
97. 216. 236. 237.

Time lias thinn'd my flotving hair 51.

2tng, tang, fa 243.

Tioli 318.

'Tis beauty commands me 146. 148.

'Tis in rain 211.

'Tis not wealth 51.

To arms Columbia 246.

To arms, to arms 316.

To the memory of Washington 219.

To the sounds of the drums 227.

To thee each joy possessing 221.

Tobacco box 218.

Toeschi 81. 84. 184. 211. 212.

Together let t(s range 151.

Sonneck, Early Concert Life.

To7tt Bowling 308.

Tom Tackle 220. 323.

Tom Triielove's Kneel 243.

Too happy ichen Edward was kind 243.

Trade, music 9. 25. 156.

Trailer 211.

Trenton, N. J. 248.

Tricklir 83. S4.

Trios 15. 56. 72. 74. 85. 186. 193. 217.

227. 234. 249. 306.
Trisobio, Filippo 52. 242.
Tromba doppio con tympana 77.
Tubbs 313. 317-319.
Tuckev, William 103. 108. 114. 160. 161.

176-181.
Tuneful lark 217. 222. 223.
Turn fair Clora 51. 262.
Turner, William 253. 256-258. 266.
'Twas ivithin a mile, etc. 199.
Twins of Latona 62. 223.
Ttvo bunches a penny 102. 152.
Two grenadiers 45.
Two misers 313.

Two pianofortes, music for 49. 52.
Tyler 200. 210—212. 215-220.241-245.

323.

Uhl 14.

Unfortunate sailor 247.

Upper Marlborough, Md. 41.

Uranian Academy, Concerts, Society, Phila.

103-117.
Uranian (Musical) Society, N. Y. 203.

Vachon 84.

Vackner 304.

Vain is beauty 73. 171.

Val 30.

Valton, Peter 15. 16. 21.

Van Hagen, Peter Albrecht, sen.

190. 195. 197. 198. 199. 200.

229. 231. 234. 236. 237. 240.

314. 315. 316.
Van Hagen, Mrs. 190. 195. 196

199. 200. 231. 236 237. 240.
Van Hagen, P. A., jun. 189—

196. 197. 198. 199. 200. 227.

231. 240. 271. 305. 306. 315.
Van Hagen, Miss 237.
Vanderhagen 38.
Vanhal see Wanhal.
Vaudeville 21.

Vauxhall Concerts 19—21. 31 39
Vermonnet 48.
Victor, H. B. 77.
Victor, John 58.
Vidal 76.
Vienna 6. 7. 11.
Village recruit 245.
Villars 29. 32.
Viola d'amour 23.
Violin harmonika 227.
Violin making 264.

23. 188—

227.

228.

305.

306.

. 197

198.

271.

315.

-190.

195.

228.

229.

316.

168. 208.

338 -

Violin sonatas 59. 81. 83. 138. 139. 229.

293
Viotti 30. 33. 52. 91. 137. 141.
Vogel, James 49. 50. 51. 52. 57.
Vogel, Job. Chr. 145. 243. 246. 314.
Vole a tios voix 52.
Von Duelman 221.

Wainwright, Miss 16. 168. 173. 179

Waiter 213.

"Waits" 4. 5.

Wall, Miss 26.

Wallace 14.

AVanhal 38. 53. 81-86. 90. 94. 127.

133. 136. 138. 144. 184. 186. 188.

194. 196. 202. 210. 211. 212. 219.

233. 241. 249. 300.
Warrell 51. 53. 55. 146. 147. 151.
Warwell 173.

Washington, D. C. 62 — 63.
Washington, George 27. 57. 65. 98

130.
193.
232.

122.

131. 187. 206. 219. 271. 277. 282. 284.

288.
Washington 107. 296.
Washington and the Gonstitiition 213.
Washingtoti's counsel 299.
Waving ivillow 213. 219. 241.
Waxen doll 322.
Webbe 95. 96.
Webster, George 174.
Weckmann, M. 2.
Wedding dag 213. 223. 300.
Wedding ring 60.
Weisbecher 249.

Welcome, mighty chief.' once more 187.
Weldon 246.

Were I a shepherd's maid 248.
West 30. 31. 35. 36. 37. 64. 233.
Westray 210. 215. 217. 223.
What can a lassie do 218.
What is a woman like 222.
What is love? 60.
When Arthur first 95.
When Phoebus, etc. 262. 295.
When ruddy Aurora 221.
When Sandy, etc. 247.
When the men a courting came 222.
When the 7nind is in tune 209.
When the sails 217.
When ivar begins 151.
Where is the harm of that 213. 243.
While over the mountain h)-ow 155.

While successful proves the gale 148.

White 245. 247.

Whither my love 59. 233. 306.

Who shall deserve etc. 314.

William and Mary 221.

Williams 313.

Williams, A. 108. 114. 119. 282 288.

Williamsburg, Va. 57 — 58.

Williamson 213.

Willichiiis, J. 2.

Wind gentle over-green do.

Wind instruments, music for (see also

Military bands) 95. 99. 149. 214. 218

302. 318.
Windling 81.
Winsome Kate 212.
Wish 209. 212.
Wiska 212.

With my jug in- one J/and 64.
Wives and Imsbands 151.
Wives and siveetliearts 155.
Wolf, A., (Wolff, Wolfe; 89. 90. 94. 98.

100. 102. 120. 121. 133. 137. 138. 146.

150. 153. 187. 188. 234.
Wolfe 53. 56. 57. 99.
Wolff 100.

Women composers, see Pownall.
Wood, Anthony 3.
Woodward 202.

Wools 73. 153. 168. 170. 172. 173. 179.
Wounded hussar 222. 247.
Wranitzky 56. 191. 199. 211. 215. 218. 219.

220—223. 244. 247.
Wrighten 35. 36. 301.

Yauda 52. 147.

Yarnold, Benjamin 15.

Ye sons of dull sloth 213.

Yelloio Stockings 5.

Yes! I must go, etc. 227.

Yonge, N. 3.

Yost, M. see Michel

You gentlemen of England 308.

You tell me 218.

Young, William 89. 90. 191. 230.

Young Sandy 216.

Youngblut 89. 90.

Zanetti 73.

Zedtwitz, Hermann 166 170. 171. ]

Zemire and Axor 45. 134. 135.

Printed by Breitkopt & Hartel in Leipsic.

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