CHAPTER II.

Church Music and the Manner of its Performance.

It has already been mentioned that there were many German hymn-writers in Philadelphia in the early eighteenth century, and it is now in place to consider what was the quality of the music in the German churches at that period, and whether musical instruments of any kind were used in the Philadelphia churches.

For the first record it is necessary to go a little beyond Philadelphia to the Hermits of the Wissahickon. To this people undoubtedly belongs the honor of first using instrumental music in religious services. Of their voyage across the Atlantic, Kelpius says:

“We had also prayer meetings and sang hymns of praise and joy, several of us accompanying on instruments that we had brought from London.”[28]

Evidently the instruments which they brought with them were not satisfactory or were regarded as inadequate for the worship of God, as Kelpius in a letter to friends in London asked that two clavichords with additional strings might be sent.[29]

Again the Hermits at the consecration of the new Swedish church—Gloria Dei—July 2, 1700, act as choristers and furnish instrumental music.[30]

The first German minister ordained in this country was Justus Falckner, who was consecrated by the Swedish Lutherans. In a letter to Rev. Heinrich Muhlen, of Holstein (1701), Falckner shows that, even at that early day, music was considered an important adjunct of the church service. He says:

“In short there are Germans here, and perhaps the majority, who despise God’s Word and all outward good order; who blaspheme the sacraments and frightfully and publicly give scandal....“I will here take occasion to mention that many others besides myself, who know the ways of the land, maintain that music would contribute much towards a good Christian service. It would not only attract and civilize the wild Indians, but it would do much good in spreading the Gospel truths among the sects and others by attracting them. Instrumental music is especially serviceable here. Thus a well-sounding organ would perhaps prove of great profit, to say nothing of the fact that the Indians would come running from far and near to listen to such unknown melody, and upon that account might become willing to accept our language and teaching, and remain with people who had such agreeable things; for they are said to come ever so far to listen to one who plays even a reed-pipe (rohr-pfeiffe): such an extraordinary love have they for any melodious and ringing sound. Now as the melancholy, saturnine stingy Quaker spirit has abolished (relegiert) all such music, it would indeed be a novelty here, and tend to attract many of the young people away from the Quakers and sects to attend services where such music was found, even against the wishes of their parents. This would afford a good opportunity to show them the truth and their error.“If such an organ-instrument (Orgel-werck) were placed in the Swedish church ... it would prove of great service to this church.“If there were music in the church, the young people would consider church-going a recreation.“The Lord of Hosts ... would be praised and honored with cymbal and organ.“And it may be assumed that even a small organ-instrument and music in this place would be acceptable to God, and prove far more useful than many hundreds in Europe, where there is already a superfluity of such things.“There are in Europe masters enough who would build such instruments, and a fine one can be secured for 300 or 400 thalers. Then if an experienced organist and musician could be found, and a curious one, who would undertake so far a journey, he would be very welcome here. In case this could not be, if we only had an organ, some one or other might be found who had knowledge thereof.”[31]

“In short there are Germans here, and perhaps the majority, who despise God’s Word and all outward good order; who blaspheme the sacraments and frightfully and publicly give scandal....

“I will here take occasion to mention that many others besides myself, who know the ways of the land, maintain that music would contribute much towards a good Christian service. It would not only attract and civilize the wild Indians, but it would do much good in spreading the Gospel truths among the sects and others by attracting them. Instrumental music is especially serviceable here. Thus a well-sounding organ would perhaps prove of great profit, to say nothing of the fact that the Indians would come running from far and near to listen to such unknown melody, and upon that account might become willing to accept our language and teaching, and remain with people who had such agreeable things; for they are said to come ever so far to listen to one who plays even a reed-pipe (rohr-pfeiffe): such an extraordinary love have they for any melodious and ringing sound. Now as the melancholy, saturnine stingy Quaker spirit has abolished (relegiert) all such music, it would indeed be a novelty here, and tend to attract many of the young people away from the Quakers and sects to attend services where such music was found, even against the wishes of their parents. This would afford a good opportunity to show them the truth and their error.

“If such an organ-instrument (Orgel-werck) were placed in the Swedish church ... it would prove of great service to this church.

“If there were music in the church, the young people would consider church-going a recreation.

“The Lord of Hosts ... would be praised and honored with cymbal and organ.

“And it may be assumed that even a small organ-instrument and music in this place would be acceptable to God, and prove far more useful than many hundreds in Europe, where there is already a superfluity of such things.

“There are in Europe masters enough who would build such instruments, and a fine one can be secured for 300 or 400 thalers. Then if an experienced organist and musician could be found, and a curious one, who would undertake so far a journey, he would be very welcome here. In case this could not be, if we only had an organ, some one or other might be found who had knowledge thereof.”[31]

The writer of this missive was somewhat of a poet himself, and composed several fine hymns, some of which are in use at the present day.[32]

Whether the appeal for musical instruments was of avail, we know not, but in theJournal of Rev. Andreas Sandelfor July 20, 1702, is mentioned one Jonas, organist of Gloria Dei church. Again, on November 24, 1703, when Falckner was ordained in this church, Sachse says:

“The service was opened with a voluntary on the little organ in the gallery by Jonas the organist, supplemented with instrumental music by the Mystics on the viol, hautboy, trumpets (Posaunen) and kettle drums (Pauken).”[33]

The first church organ in Philadelphia, then, was placed in a Swedish Lutheran church largely by means of a German. Although the merit for this achievement must be divided between the Germans and Swedes, in one department of music—the singing of hymns—the Swedes probably were pre-eminent. In 1696 Charles, King of Sweden, sent to the church at Wicacoa, one hundred hymn-books,[34]while in 1712 another lot, consisting of “360 hymn books of three sorts” were shipped.[35]The Swedes were strict, too, in the regulations of the church services, especially of singing. In 1702, Rev. Andreas Sandel imposes a fine “for untimely singing, six schillings.”[36]Especially interesting is the account concerning the attempt of Pastor Andreas Hesselius, of Christiana, Delaware, to reform church singing in 1713. Acrelius says:

“He had special regard to propriety in church-singing, in which there was often such discord as though they intended to call theircows to the church. In opposition to which it was represented that as all those who possessed the gift of praising God with a pleasing voice in psalms and hymns should not stand mute, so, on the other hand, those who were unfitted for this should not with their harsh voices, hinder others and make confusion, but, by softly singing after the others, train themselves to correct singing. During the singing, he went around the church and aided where they failed.”[37]

It is very probable that in Philadelphia, this same instruction in church singing prevailed, since Hesselius was for some time Provost, and had a right to command, and also, because Samuel Hesselius, his brother, occupied the pulpit at Wicacoa and could more easily be coerced—if necessary—to establish this method of instruction.

In the other churches of Philadelphia, organs seem to have been introduced at a relatively late date. On September 2, 1728, a committee having been appointed at Christ Church “to treat with Mr. Lod. C. Sproegel,[38]about an organ lately arrived here, report that they had done the same, and that he insisted on £200 for said organ; and that they had procured men of the best skill this place could afford to erect the said organ in a convenient house in town, to make trial thereof; which, being done, it is said the organ proves good in its kind, and large enough for our church.”[39]Upon this recommendation the organ was purchased. In the Moravian church, corner of Race and Broad streets, there were two organs in 1743[40]one of which was sold in 1796, and a new one built by David Tannenberger.[41]In this same year (1743) the Moravians in Germantown had an organ costing £60, but in 1744 both church and organ reverted to the German ReformedChurch.[42]The Catholic church had an organ in 1750.[43]These are the earliest known organs in use in Philadelphia churches. From this time on, the other churches in the city gradually established them as an aid to their services.

One writer, who came to this country from Germany, evidently had no knowledge of these organs when he said:

“I came to this country with the first organ [1750] which now stands in a High German Lutheran church in the city of Philadelphia, and which was built in Heilbronn.”[44]

In the face of the evidence already produced, it is needless to say that this statement is a little off color, to say the least.

There were then in Philadelphia several organs before 1755, and it is reasonable to assume that in the Moravian church, that “wind” and “string” instruments were used, since we find this true at the colony in Bethlehem.[45]The testimony of travellers of that time or of members of other churches is of some interest and importance. The first witness is William Black, secretary of the commission appointed by the Governor of Virginia to unite with commissions from Maryland and Pennsylvania for the purpose of treating with the Indians. In the year 1744, he resided in Philadelphia, during which time he kept a journal of interest and importance. June 8 he writes:

“We went to the Moravian Meeting, where I had the pleasure to hear an Excellent Comment on that Passage in Scripture Relating to the Prodigal Son, and aftersome very agreeable Church Music, half an hour after 9 they broke up.”[46]

This testimony is not without its value, as this gentleman was evidently somewhat of a musician himself, since under the same date in his diary we find:

“I Rose from my Bed and pass’d two hours in writing, the rest of the time till Breakfast, I spent with my Fiddle and Flute.”[47]

Concerning the music in the Moravian church we have other evidence, at a later date. John Adams remarks in his diary for October 23, 1774:

“The singing here [Methodist meeting] is very sweet and soft indeed; the firstmusicI have heard in any societyexceptthe Moravians, and once at church with the organ.”[48]

He also remarks September 4, 1774, upon “the organ and a new choir of singers at Christ Church, which were very musical.”[49]

Franklin, in 1755, speaks of hearing Moravian music at Bethlehem, and praises it generously.[50]A year earlier Acrelius, who visited the same place, gives a more detailed account in the following words:

“It was finally agreed that we should sit below [in the auditorium of the church], as the music sounded better there. The organ had the accompaniment of violins and flutes. The musicians were back in the gallery, so that none of them were seen.” One of the ministers “read some verses of a German hymn book, after which they were sung with excellent music.”[51]

Their style of music and manner of performing it must have been exceptionally good, as compared with the music of other churches, to have impressed so favorably such men, who, we may be sure, were quite different. There is the sturdy pastor Acrelius, understanding church music and the manner of its performance; the cordial, genial Ben Franklin, who knew somethingabout music from living in London; the somewhat cold but highly cultured, John Adams, with his Puritan traditions; then the gentleman from Virginia, William Black, who most probably partook of the nature of the warm, sunny-tempered Southerners, himself somewhat of a musician. Could we ask for witnesses more unlike?

To the Moravian church undoubtedly belongs the palm for music during the eighteenth century; but there was music, and good music, in some other churches as well. We have already mentioned the music in Christ Church and the Methodist Church. Concerning the music in the German Lutheran Church, we have the testimony of Daniel Fisher, who writes in hisDiaryfor May 25, 1755:

“Went to the Lutheran Church, a neat Brick Building where there is a good organ[52]to which I heard them sing Psalms, agreeably enough.”[53]

Again he says:

“The Lutheran Church has an organ, and a good one.”[54]

There were organs then in the churches, to a great extent, before 1750. The question now arises: Were there men who could repair these instruments if they got out of order? By the end of the fifth decade, there were several men who could not only repair an organ, but also build one. Of these men Gustavus Hesselius is the most important, as he was the first spinet builder in America, having produced specimens as early as 1743,[55]and probably the first organ builder in Pennsylvania. It is claimed that he was the first organ builder in America, and in support of that claim an organ is mentioned as built by him for the Moravian Church at Bethlehem, Pa., in 1746.[56]The fact is lost sight ofthat a Boston man, Edward Bromfield, generally regarded as the first organ builder, constructed an instrument in 1745.[57]However Hesselius was undoubtedly the first man who built many church organs.

Still another claimant appears for this title—no less a man than the Englishman, Doctor Christopher Witt (1675-1765), another hermit of the Wissahickon. Doctor Witt possessed a large pipe-organ presumably made by him alone, but possibly aided by other Hermits. It was built at least while he was living with the settlement on the Wissahickon, and as he left that society shortly after the death of Kelpius,[58]which took place about 1708,[59]the evidence is in his favor. This organ at his death was valued at £40.[60]

Hesselius was not only a musician, but a painter as well. He died in 1755.[61]Connected with Hesselius in 1746 was John G. Klemm, a native of Dresden, Germany. Three years later David Tannenberger arrived in Philadelphia, a man whom many of his contemporaries conceded to be the greatest organ builder in America, but, as is usually the case, there is another claimant for this high honor, as will be seen later.

David Tannenberger[62]was born March 21, 1728, in Berthelsdorf, Saxony. He was evidently an all-round musician, and could play, sing—he possessed a good voice—build, or repair an organ as occasion presented itself. It is known that he built at least fourteen organs during his stay in Pennsylvania, while no record of the number of spinets, which he made and sold for £22.10s, has been discovered.

As to Tannenberger’s reputation as an organ builder, we have the testimony of a man who probably knew Tannenberger:

“Tannenberg belongs to history astheorgan builder of his day and one of renown. He too, was of the German school. Fancystops were not generally in vogue, except the trumpet in the great organ, and the vox humana in the swell, of which latter there was but one in the city, and that was in Christ Church, and to my young ear, a good imitation of the human voice.“There are several of Tannenberg’s organs yet in breathing existence [1857]. Lancaster, Litiz, and Nazareth still hold his memory in audible and respectful tones; and much of his work is worthy of imitation. His diapasons were particularly dignified, whilst his upper work, 12th, 15th, and sesquialtera, gave brilliancy to the whole.”[63]

“There are several of Tannenberg’s organs yet in breathing existence [1857]. Lancaster, Litiz, and Nazareth still hold his memory in audible and respectful tones; and much of his work is worthy of imitation. His diapasons were particularly dignified, whilst his upper work, 12th, 15th, and sesquialtera, gave brilliancy to the whole.”[63]

This testimony of Abraham Ritter, an organist of good standing in the Moravian Church, gives some idea of the excellence of the work and of the reputation which Tannenberger still had in the nineteenth century.

In a letter written from Lancaster, Dec. 24, 1770, the following testimony is added:

“Yesterday we had the pleasure of hearing, for the first Time, the new Organ, in the High Dutch Reformed church of this Place, accompanied with a variety of vocal Music, composed on the Occasion which I may venture to say, not only from my own Experience, but the Approbation of all present, was never equalled in any Place of Worship in this Province, or perhaps upon this Continent. The Organ was made by Mr. David Tannenberg, of Litiz, a Moravian Town not far from this Place; and I dare venture to assert, is much superior in Workmanship and Sweetness of Sound, to any made by the late celebrated Mr. Feyring, who was so justly taken notice of for his Ingenuity; does great Honour to the Maker; is worth the Attention and Notice of the Curious, who may happen to pass this way; and will undoubtedly recommend him to all who are desirious of having Works of that Nature.”[64]

In spite of his reputation as an organ builder, we learn that in 1790 he was a bankrupt.[65]He died May 19, 1804, stricken by paralysis while tuning an organ at York, Pa.[66]

We have already spoken of Gottlieb Mittelberger and his organ, and, although we cannot depend upon his statements, there may be some truth in his somewhat exaggerated account of the dedication of his organ. It is at least interesting, and shows that the people as a whole were certainly not prejudiced against music. He says:

“After this work had been set up and tuned it was consecrated with great rejoicing and delivered to the Christian St. Michael’s Church for the praise and service of God.“The crowd of hearers was indescribably large; many people came from a great distance, 10, 20, 30, 40 and even 50 hours’ journey, to see and hear this organ. The number of hearers, who stood inside and outside the church, both German and English, were estimated at several thousands. I was appointed school-master and organist. As I became more and more known in Pennsylvania, and the people learned that I had brought fine and good instruments with me, many English and German families came 10, 20 and 30 hours’ journey to hear them and the organ, and they were greatly surprised because they had never in all their lives seen or heard an organ or any of those instruments.[67]“At the present time [1754] there are 6 organs in Pennsylvania—the first is in Philadelphia, the 2nd in Germantown, the 3rd in Providence, the 4th in New Hanover, the 5th in Dulpehocken, all of them came to this country during the four years of my sojourn there.”[68]

“After this work had been set up and tuned it was consecrated with great rejoicing and delivered to the Christian St. Michael’s Church for the praise and service of God.

“The crowd of hearers was indescribably large; many people came from a great distance, 10, 20, 30, 40 and even 50 hours’ journey, to see and hear this organ. The number of hearers, who stood inside and outside the church, both German and English, were estimated at several thousands. I was appointed school-master and organist. As I became more and more known in Pennsylvania, and the people learned that I had brought fine and good instruments with me, many English and German families came 10, 20 and 30 hours’ journey to hear them and the organ, and they were greatly surprised because they had never in all their lives seen or heard an organ or any of those instruments.[67]

“At the present time [1754] there are 6 organs in Pennsylvania—the first is in Philadelphia, the 2nd in Germantown, the 3rd in Providence, the 4th in New Hanover, the 5th in Dulpehocken, all of them came to this country during the four years of my sojourn there.”[68]

This statement concerning the number of organs in Philadelphia cannot be true, as we have shown above that there were several. In his list of the organs in Pennsylvania, he neglects to mention the one made for the Moravian Church at Bethlehem in 1746.[69]The number of people which he claims was present at the dedication is probably exaggerated, and, as Mittelberger was the chief performer, we can pardon him this slip of the pen.It is probable, however, that there was a large number of people present, as there would be at any new event entering into their narrow lives—especially as there was no charge for admission.

In 1762 a new organ was built in Philadelphia by Philip Feyring for St. Paul’s Church. He is the other claimant to the honor of being the greatest organ builder of his day.[70]One of the newspapers was evidently partial to him, since it gives this notice.

“The New Organ, which is putting up in St. Paul’s Church in this City, will be in such Forwardness as to be used in Divine Service on Christmas Day. It is of a new Construction, and made by Mr. Philip Feyring,[71]Musical Instrument-Maker, in this City, who may, with Justice, be said to be the best Hand at that ingenious Business on the Continent.”[72]

The organ was evidently in use on Christmas day and must have proven satisfactory to call forth the following poem lauding both Feyring and his organ.

“On hearing the Organ at St. Paul’s Church, on Christmas Day, 1762.“Hail Heav’n-born Science! whose enlivening Touch,Thro’ Nature felt, makes all her Powers rejoice,And fills the Soul with Harmony, and BlissExtatic—When Joy tumultuous revelsIn the swelling Breast, then thou, sweet Music,Majestically smooth, and soft as Zephyrs,The Voice assuasive to the Heart applyst.“If jarring Passions, like disgorging Etna,Wage War intestine, and with Rage destroyThen Mother Nature, instant at thy callThey lose their Fury, and subside in Peace:—A sov’reign Balm thou pour’st into the WoundsOf bleeding Love, and sooth’st the Heart-felt Pain.“And thou, majestic Organ! taught by thee,We raise our Thoughts on Fancy’s Wing,Soaring beyond the darksome veil of TimeUp to the empyreal Heav’n, where God-head habits,High thron’d above all Height, encircl’d roundBy Seraphims, whose well instructed choirsTo pleasing Numbers tune their Harps of Gold—“Surely if ought of Heav’n on Earth we taste,’Tis when we join in holy AcclamationWith deep ton’d Organ, to rehearse the PraiseOf God Omnipotent, who rules the Heav’ns;When ev’ry swelling Note bears us enraptur’dTo the blest Abodes of Saints imparadis’d.“When God his six Days Work, a world had finishdAttended by a Band of heav’nly Music,The Harp symphonious, and the solemn PipeThe Dulcimer, all Organs of sweet Stop,Along the starry Pavement up he rode;While instant Nature heard the Song harmonious.And listening Planets ceas’d to fill their Orbs.“While Harmony divine knows to controulThe boistrous Passions of the human Soul,Whilst Organ’s dulcet Notes the Breast inspire.With true Devotion, and a sacred Fire;Thy name O Fyring thy deserving NameShall shine conspicuous in the Roll of Fame;Ages to come, and Men in future DaysShall greateful pay their Tribute to thy Praise.C. W. P.“Mr. Fyring is a German by Birth, but has for some years past, practic’d the making of Musical Instruments (particularly Spinets and Harpsichords) in this City, with great Repute.”[73]

“On hearing the Organ at St. Paul’s Church, on Christmas Day, 1762.

“Hail Heav’n-born Science! whose enlivening Touch,Thro’ Nature felt, makes all her Powers rejoice,And fills the Soul with Harmony, and BlissExtatic—When Joy tumultuous revelsIn the swelling Breast, then thou, sweet Music,Majestically smooth, and soft as Zephyrs,The Voice assuasive to the Heart applyst.“If jarring Passions, like disgorging Etna,Wage War intestine, and with Rage destroyThen Mother Nature, instant at thy callThey lose their Fury, and subside in Peace:—A sov’reign Balm thou pour’st into the WoundsOf bleeding Love, and sooth’st the Heart-felt Pain.“And thou, majestic Organ! taught by thee,We raise our Thoughts on Fancy’s Wing,Soaring beyond the darksome veil of TimeUp to the empyreal Heav’n, where God-head habits,High thron’d above all Height, encircl’d roundBy Seraphims, whose well instructed choirsTo pleasing Numbers tune their Harps of Gold—“Surely if ought of Heav’n on Earth we taste,’Tis when we join in holy AcclamationWith deep ton’d Organ, to rehearse the PraiseOf God Omnipotent, who rules the Heav’ns;When ev’ry swelling Note bears us enraptur’dTo the blest Abodes of Saints imparadis’d.“When God his six Days Work, a world had finishdAttended by a Band of heav’nly Music,The Harp symphonious, and the solemn PipeThe Dulcimer, all Organs of sweet Stop,Along the starry Pavement up he rode;While instant Nature heard the Song harmonious.And listening Planets ceas’d to fill their Orbs.“While Harmony divine knows to controulThe boistrous Passions of the human Soul,Whilst Organ’s dulcet Notes the Breast inspire.With true Devotion, and a sacred Fire;Thy name O Fyring thy deserving NameShall shine conspicuous in the Roll of Fame;Ages to come, and Men in future DaysShall greateful pay their Tribute to thy Praise.

“Hail Heav’n-born Science! whose enlivening Touch,

Thro’ Nature felt, makes all her Powers rejoice,

And fills the Soul with Harmony, and Bliss

Extatic—When Joy tumultuous revels

In the swelling Breast, then thou, sweet Music,

Majestically smooth, and soft as Zephyrs,

The Voice assuasive to the Heart applyst.

“If jarring Passions, like disgorging Etna,Wage War intestine, and with Rage destroyThen Mother Nature, instant at thy callThey lose their Fury, and subside in Peace:—A sov’reign Balm thou pour’st into the WoundsOf bleeding Love, and sooth’st the Heart-felt Pain.

“If jarring Passions, like disgorging Etna,

Wage War intestine, and with Rage destroy

Then Mother Nature, instant at thy call

They lose their Fury, and subside in Peace:—

A sov’reign Balm thou pour’st into the Wounds

Of bleeding Love, and sooth’st the Heart-felt Pain.

“And thou, majestic Organ! taught by thee,We raise our Thoughts on Fancy’s Wing,Soaring beyond the darksome veil of TimeUp to the empyreal Heav’n, where God-head habits,High thron’d above all Height, encircl’d roundBy Seraphims, whose well instructed choirsTo pleasing Numbers tune their Harps of Gold—

“And thou, majestic Organ! taught by thee,

We raise our Thoughts on Fancy’s Wing,

Soaring beyond the darksome veil of Time

Up to the empyreal Heav’n, where God-head habits,

High thron’d above all Height, encircl’d round

By Seraphims, whose well instructed choirs

To pleasing Numbers tune their Harps of Gold—

“Surely if ought of Heav’n on Earth we taste,’Tis when we join in holy AcclamationWith deep ton’d Organ, to rehearse the PraiseOf God Omnipotent, who rules the Heav’ns;When ev’ry swelling Note bears us enraptur’dTo the blest Abodes of Saints imparadis’d.

“Surely if ought of Heav’n on Earth we taste,

’Tis when we join in holy Acclamation

With deep ton’d Organ, to rehearse the Praise

Of God Omnipotent, who rules the Heav’ns;

When ev’ry swelling Note bears us enraptur’d

To the blest Abodes of Saints imparadis’d.

“When God his six Days Work, a world had finishdAttended by a Band of heav’nly Music,The Harp symphonious, and the solemn PipeThe Dulcimer, all Organs of sweet Stop,Along the starry Pavement up he rode;While instant Nature heard the Song harmonious.And listening Planets ceas’d to fill their Orbs.

“When God his six Days Work, a world had finishd

Attended by a Band of heav’nly Music,

The Harp symphonious, and the solemn Pipe

The Dulcimer, all Organs of sweet Stop,

Along the starry Pavement up he rode;

While instant Nature heard the Song harmonious.

And listening Planets ceas’d to fill their Orbs.

“While Harmony divine knows to controulThe boistrous Passions of the human Soul,Whilst Organ’s dulcet Notes the Breast inspire.With true Devotion, and a sacred Fire;Thy name O Fyring thy deserving NameShall shine conspicuous in the Roll of Fame;Ages to come, and Men in future DaysShall greateful pay their Tribute to thy Praise.

“While Harmony divine knows to controul

The boistrous Passions of the human Soul,

Whilst Organ’s dulcet Notes the Breast inspire.

With true Devotion, and a sacred Fire;

Thy name O Fyring thy deserving Name

Shall shine conspicuous in the Roll of Fame;

Ages to come, and Men in future Days

Shall greateful pay their Tribute to thy Praise.

C. W. P.

“Mr. Fyring is a German by Birth, but has for some years past, practic’d the making of Musical Instruments (particularly Spinets and Harpsichords) in this City, with great Repute.”[73]

This effusion explains itself. His workmanship must have been of superior quality, as it was seldom that a musician at that time—or even at the present day was much noticed, let alone publishing a poem about him.

How many instruments were sold by these organmakers it would be difficult to say, although undoubtedly parlor organs were found in many houses. There are advertisements of two organs for sale among a list of household goods before the end of 1750: A “small” organ belonging to Benj. Morgan, 1748,[74]and a “large” one, the property of the late Peter Kook, in 1750.[75]

Religious music in this half century was flourishing, and was considered a valuable adjunct of the church service, not only in German churches, but also in the Swedish and English churches. The composition of hymns up to this time seems to have been confined to the Germans.

FOOTNOTES:[28]Sachse,German Pietists, p. 22; Seidensticker,Geschichtsblaetter, p. 100.[29]Seidensticker,Geschichtsblaetter, p. 100.[30]Sachse,German Pietists, p. 144 (hereafter quoted as G. P.).[31]Cf.The Missive of Justus Falckner of Germantown, Concerning the Religious Condition of Pa. in the Year 1701. Translated by J. F. Sachse.Found also inPa. Mag. of Hist., 1897.[32]Sachse,Justus Falckner, pp. 20-21.[33]Justus Falckner, p. 64; also G. P., pp. 354-5. Sachse believes this organ was one brought over by Kelpius.[34]Israel Acrelius,A History of New Sweden, trans. by Wm. Reynolds, inMemoirs of Pa. Hist. Soc., Vol. XI, pp. 197, 366 (hereafter quoted as Acrelius).[35]Acrelius, p. 367; alsoAndreas Sandel’s Diary, inPa. Mag. Hist.1906, p. 446.[36]Acrelius, p. 217.[37]Acrelius, p. 276.[38]Ludovic Christian Sproegel was one of the “Hermits of the Wissahickon.”[39]Quoted from theMinutes of the Vestry of Christ Church, by Benj. Dorr,History of Christ Church, p. 61.[40]Madeira,Annals of Music in Philadelphia, p. 24.[41]Madeira,Annals of Music in Philadelphia, p. 24 (hereafter quoted as Madeira).[42]Minutes and Letters of the Coetus of the German Reformed Church, p. 29.[43]Madeira, p. 24.[44]Gottlieb Mittelberger’s Journey to Penn. in the Year 1750; translated by Carl T. Eben, p. 114.[45]Wm. Reichel,Something about Trombones, p. 4 ff. See also the statement concerning Justus Falckner’s ordination as quoted above, where musical instruments of this character were used.[46]Penn. Mag. of History, Vol. II, p. 43.[47]Penn. Mag. of Hist.Vol. II, p. 40.[48]John Adams Works, Vol. II, pp. 401 and 364.[49]John Adams Works, Vol. II, pp. 401 and 364.[50]Franklin,Autobiography, p. 325 [Lippincott, Phila., 1868].[51]Acrelius, p. 413.[52]The organ Mittelberger brought from Heilbronn; see above.[53]Penn. Mag. of Hist., Vol. XVII, p. 267.[54]Penn. Mag. of Hist., Vol. XVII, p. 272.[55]Penn. Mag. of Hist., Vol. XVI, p. 473 (note)[56]Penn. Mag. of Hist., Vol. XXIX, p. 131 ff; also Reichel, p. 4.[57]L. Elson,History of American Music, p. 43.[58]German Pietists, pp. 403, 412.[59]German Pietists, p. 192.[60]German Pietists, p. 418 (note).[61]Penn. Mag. of Hist., Vol. XII, p. 503 (note).[62]Spelled also Tannenberg.[63]Abraham Ritter,Hist. of the Moravian Church in Phila.(1857), p. 59 ff. (note).[64]Pa. Gaz.Jan. 10, 1771.[65]General Adv.Oct. 28, 1790.[66]Penn. Mag. of Hist., Vol. XXII, p. 231 ff.[67]This statement is utterly false, as it will be shown later that there were musical instruments in Philadelphia long before this time, and even concerts in 1740.[68]Mittelberger’sJourney to Penn., p. 114.[69]Cf. above, p. 17.[70]Cf. above, p. 18.[71]Spelled also Feyring.[72]Pa. Gaz., Dec. 23, 1762.[73]Pa. Gaz., Dec. 30, 1762.[74]Pa. Journal, July 7, 1748.[75]Pa. Journal, Jan. 2, 1750.

[28]Sachse,German Pietists, p. 22; Seidensticker,Geschichtsblaetter, p. 100.

[29]Seidensticker,Geschichtsblaetter, p. 100.

[30]Sachse,German Pietists, p. 144 (hereafter quoted as G. P.).

[31]Cf.The Missive of Justus Falckner of Germantown, Concerning the Religious Condition of Pa. in the Year 1701. Translated by J. F. Sachse.Found also inPa. Mag. of Hist., 1897.

[32]Sachse,Justus Falckner, pp. 20-21.

[33]Justus Falckner, p. 64; also G. P., pp. 354-5. Sachse believes this organ was one brought over by Kelpius.

[34]Israel Acrelius,A History of New Sweden, trans. by Wm. Reynolds, inMemoirs of Pa. Hist. Soc., Vol. XI, pp. 197, 366 (hereafter quoted as Acrelius).

[35]Acrelius, p. 367; alsoAndreas Sandel’s Diary, inPa. Mag. Hist.1906, p. 446.

[36]Acrelius, p. 217.

[37]Acrelius, p. 276.

[38]Ludovic Christian Sproegel was one of the “Hermits of the Wissahickon.”

[39]Quoted from theMinutes of the Vestry of Christ Church, by Benj. Dorr,History of Christ Church, p. 61.

[40]Madeira,Annals of Music in Philadelphia, p. 24.

[41]Madeira,Annals of Music in Philadelphia, p. 24 (hereafter quoted as Madeira).

[42]Minutes and Letters of the Coetus of the German Reformed Church, p. 29.

[43]Madeira, p. 24.

[44]Gottlieb Mittelberger’s Journey to Penn. in the Year 1750; translated by Carl T. Eben, p. 114.

[45]Wm. Reichel,Something about Trombones, p. 4 ff. See also the statement concerning Justus Falckner’s ordination as quoted above, where musical instruments of this character were used.

[46]Penn. Mag. of History, Vol. II, p. 43.

[47]Penn. Mag. of Hist.Vol. II, p. 40.

[48]John Adams Works, Vol. II, pp. 401 and 364.

[49]John Adams Works, Vol. II, pp. 401 and 364.

[50]Franklin,Autobiography, p. 325 [Lippincott, Phila., 1868].

[51]Acrelius, p. 413.

[52]The organ Mittelberger brought from Heilbronn; see above.

[53]Penn. Mag. of Hist., Vol. XVII, p. 267.

[54]Penn. Mag. of Hist., Vol. XVII, p. 272.

[55]Penn. Mag. of Hist., Vol. XVI, p. 473 (note)

[56]Penn. Mag. of Hist., Vol. XXIX, p. 131 ff; also Reichel, p. 4.

[57]L. Elson,History of American Music, p. 43.

[58]German Pietists, pp. 403, 412.

[59]German Pietists, p. 192.

[60]German Pietists, p. 418 (note).

[61]Penn. Mag. of Hist., Vol. XII, p. 503 (note).

[62]Spelled also Tannenberg.

[63]Abraham Ritter,Hist. of the Moravian Church in Phila.(1857), p. 59 ff. (note).

[64]Pa. Gaz.Jan. 10, 1771.

[65]General Adv.Oct. 28, 1790.

[66]Penn. Mag. of Hist., Vol. XXII, p. 231 ff.

[67]This statement is utterly false, as it will be shown later that there were musical instruments in Philadelphia long before this time, and even concerts in 1740.

[68]Mittelberger’sJourney to Penn., p. 114.

[69]Cf. above, p. 17.

[70]Cf. above, p. 18.

[71]Spelled also Feyring.

[72]Pa. Gaz., Dec. 23, 1762.

[73]Pa. Gaz., Dec. 30, 1762.

[74]Pa. Journal, July 7, 1748.

[75]Pa. Journal, Jan. 2, 1750.

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