CHAPTER III.

Secular Music.

From the preceding chapter it has been clearly seen, that the Germans in Philadelphia, and indeed in the whole State, were strongly religious, and were celebrated for their church music and instrument makers, especially for their organ builders.

Were all the people in Philadelphia as religious as the Germans and Quakers seem to have been, and were there no public amusements? This is an important question, and one not easily answered, especially during the first half of the eighteenth century. It may be thought that this question is not related to German music, but indirectly it is, so that it may be shown whether or not the people of Philadelphia were ready to welcome music, whether they were in a state of mind favorable to the introduction of any amusements. It is necessary to establish these facts before we can clearly understand the reasons and cause for the introduction of German concert music into America.

We know, that in Philadelphia during the eighteenth century, there were men of every creed and religion, of every walk of life, of many different nationalities, and we may be sure that in such a conglomeration of men and ideas there would be some to whom amusements would be necessary—even amusements which strait-laced people would condemn. The information there is upon this subject supports the opinion, that there were amusements even in the early part of the eighteenth century. Foremost among the pleasures in which the inhabitants of Philadelphia indulged, was dancing, and we have reference to this art at an early period. In a book written in 1710 is the following statement:

“Among the rest of my Friends, I must not forget the facetious Mr. Staples, Dancing-Master, who was the first Stranger of Philadelphia that did me the Honour of a Visit.”[76]

As early as 1716 we find this record:

“At the Yearly Meeting of the Friends, members were advised against ‘going to or being in any way concerned in plays, games, lotteries, music and dancing.’”[77]

Throughout the first half of the eighteenth century dancing was evidently held in due respect by a certain element of the population. In 1728 it forms a part of the curriculum of a boarding school.[78]In 1730 dancing is taught by Thomas Ball’s sister.[79]The first really fashionable ball was probably that given by Governor Gordon, in 1726, in honor of the Prince of Wales’ birthday.[80]To some extent, too, music and dancing were surely a part of the marriage festivities, as the following item shows:

“We hear that Tuesday night last, a young Dutchman was married to an old Dutchwoman, who was known to have money. They had a fiddle at the Wedding.... She danc’d till it was late.”[81]

We find ministers of different denominations complaining of the irreligion of some of the inhabitants. As one writer remarks:

“We live in an age, when ’tis counted almost a scandal to be a Christian. Religion is stil’d Preciseness and Hypocrisy, and a strict Conformity to Truth and Virtue is imputed to be the Effect of Melancholy, a Distemper’d Imagination. We daily hear the greatest Mysteries of our Faith Ridicul’d and Banter’d, the ClergyDespis’d, Expos’d and Degraded; and that even by Men, who have not yet Publickly Renounc’d Christianity; but such as would be thought to have clearer Heads, and more refin’d Conceptions of Things than their Brethren, those Men to their Shame stand Pelting Religion at a distance, with little Scoffs and Jests, when there is a more Fair and Honourable way of deciding the Matter, by rational and undeniable Arguments.”[82]

In opposition to this we have the testimony of Benjamin Franklin, who writes:

“Our people, having no publick amusements to divert their attention from study, became better acquainted with books.”[83]

So, too, a correspondent in theWeekly Mercurywrites:

“Here are no Masquerades, Plays, Balls, Midnight Revellings, or Assemblies to Debauch the Mind or promote Intrigue.”[84]

When, however, we read an advertisement in the same paper about a month later like the following, we may be permitted to doubt somewhat the statements of the last two men.

“The Art of Dancing Carefully Taught (as it is now Practic’d at Court) by Samuel Perpoint, at hisSchool... where for the Recreation of all Gentlemen and Ladies: There will beCountry Dances every Thursday Evening; likewise he teaches small Sword.”[85]

From this time on, we notice the advertisements of various dancing masters, who, often were school masters at the same time. Not only did these Philadelphians enjoy dancing, but they were partial to late suppers and card playing as well,—playing cards was a staple article of importation after 1736.[86]Another favorite amusement, we may be sure, was playing on the Jew’s harp, for after 1733, this instrument frequently is advertised.[87]TheJew’s harp must have been considered a harmless instrument by all sects, for as early as 1675 in one State of Puritan New England it is stated that a law was enacted, “that no one should play on any kind of music except the drum, the trumpet and the jewsharp.”[88]

Besides the amusements already mentioned, the Philadelphians had an opportunity to see a rope-dancer in 1724,[89]“Punch and Joan his Wife,”[90]“Magick Lanthorn” exhibition,[91]“Camera Obscura and Microscope,”[92]a musical clock with a man and woman appearing as mountebanks.[93]

Music was evidently popular at society meetings, banquets, etc. Perhaps there was nothing more than singing, but possibly a violin and spinet helped to while away the time. For instance, in 1731 at the celebration of “St. David’s Day,” by the “Society of Ancient Britons,” the evening ended with “Musick, Mirth and Friendship.”[94]

In the two items which will be given now, may be detected, perhaps, the incipient germs of musical criticism, or at least the idea, which most people probably had of what a professor of music should know and be able to do:

“Elocution is not unlike Musick; there is scarce a Soul so rustick as not to admire both in their Excellency, altho’ the Masters of those Sciences may lose their proper Share of the Praise. He that having laid before him the several Parts of a Musical Instrument, can Unite them in their Places, and tune them to Harmony, merits the appelation of a Master in Musick and should be distinguished as such, as he that disposes Words into grammatical sentences, and eloquent Periods, is a Master of Language.”[95]

This quotation may argue for the popularity and respect in which music was held at that time by at least some of the people. We find in this crude statement, that music was thought worthy of a position by the side of elocution, which has always held a high place in the minds of every people, and so we may be safe in believing that music had a place, and an important place, in Philadelphia, in the early history of that city.

Another correspondent states that:

“Women, like Instruments of Musick, require to be long used before their Sweetness or Discord are certainly discovered.”[96]

Unless the writer of the above knew something about music, and unless music was an object of interest or pleasure, so that this comparison would be appreciated, he would not likely have ventured to use such a simile.

In 1733 there is a record of a “ball”[97]while, in the next year under the heading “London news,” there is a notice concerning the marriage of the Princess Royal to the Prince of Orange, which gives the following information:

“A fine anthem compos’d by Mr. Handell was perform’d by a great Number of Voices and Instruments.”[98]

This latter item proves nothing except that the name of Händel was introduced into the colonies at an early date, and may have remained in the memories of some of the people, since he was connected with such an important event. This may possibly have helped to increase the popularity which his works, later in the century, attained in America.

It has been seen that there was music and dancing at this time, and it is now interesting to learn what kind of musical instruments were used. It has been shown already, that therewere Jew’s harps,[99]that Kelpius had clavichords,[100]and assuredly there were some virginals, although probably few. In the fifth decade the various instrument makers mentioned above,[101]probably had quite a number of customers.

In 1729 Andrew Bradford, proprietor of theAmerican Weekly Mercury, advertises:

“A well-strung Virginal to be sold; being in good Order. Enquire of Printer hereof.”[102]

Dr. Christopher Witt, referred to before,[103]was a capable player on the virginal,[104]which at his death was appraised at £1, 15s.;[105]while a virginal belonging to the “Hermits” reverted to the widow of Magister Zimmerman.[106]

The people who owned instruments of this kind had an opportunity to learn to play, since in 1730 a woman—the first music teacher in Philadelphia—makes an announcement in the newspaper as follows:

[Thomas Ball’s] “Wife teaches Writing and French. Likewise Singing, Playing on the Spinet, Dancing and all sorts of Needle-Work are taught by his Sister lately arrived from London.”[107]

What class of music she and her pupils played, it would be hard to say, but it did not cause anyone to start a music store, and it is not until 1739 that any great musical works are advertised at the office of the man of many parts, Benjamin Franklin. The following pieces were to be obtained there: “Corelli’s Sonatas, Geminiani’s Concertos, Ditto’s Solos.”[108]

Besides spinets and virginals there were probably violins, German flutes, trumpets, drums, a few viols, etc. For instance, in 1749 Anthony Lamb, of New York, advertises among other things: “German Flutes,”[109]while other men advertise, in 1750, “Hunting Pipes,”[110]and “fiddle strings.”[111]From 1744 on numerous advertisements of drums appear.

Before 1740 there is no record of any kind of musical organization, but in this year there was such a society. During this year the evangelist, Whitefield, visited Philadelphia and made a strong impression upon people of all beliefs. One of his disciples caused this to be printed:

“Since Mr. Whitefield’s Preaching here, the Dancing school, Assembly, and Concert Room have been shut up, as inconsistent with the Doctrine of the Gospel: and though the Gentlemen concern’d caus’d the Door to be broke open again, we are inform’d that no Company came to the last Assembly night.”[112]

One of the members, however, denied the charge that dances were inconsistent with the doctrine of the gospel, and affirmed that the hall was closed up by William Seward, an “Attendant and intimate Companion” of Whitefield. This same writer speaks of “Members of the Concert” and the rooms belonging to them. He also says that the members “met the Night after according to Custom; and the Thursday following the Company met to Dance as they used to do; but the Assembly being only for the Winter Season is now discontinued of Course and the Concert being for the whole Year still goes on as usual.”[113]

This is interesting, as it is the first record of concerts, and also, because theseconcerts, continued thewholeyear, not merely during the winter months as nowadays. There were “Members of the Concert,” too, who rented or owned rooms. There mustthen have been some kind of a club or society, which gave these performances.

These concerts must either have been kept up for years, or new series instituted year by year, since our friend William Black (already quoted) says in his diary of 1744, June 5:

“At 8 O’Clock went to hear a Concert of Musick; the Performers was some Town’s Gentlemen, and did Us the Honour of an Invitation, we staid till past 11, and I left the Company to go home to my lodgings.”[114]

It is important to observe, that William Black says he had the “Honour” to be invited to a concert. One might say that this word was simply a common expression. It probably was, and still is; but we believe a man would hardly write such an expression in his diary, unless he really thought he was honored. It seems probable that this concert and those of 1740 must have been very exclusive and were not public entertainments, which anyone might attend.

There was exhibited this same year (1744) a curiosity, which would attract a large crowd of people. This was no less than:

“The Unparallelled Musical Clock, made by that great Master of Machinery, David Lockwood. It excels all others in the Beauty of its Structure and plays the choicest Airs from the most celebrated Operas with the greatest Nicety and Exactness. It performs with beautiful graces, ingeniously and variously intermixed, the French Horn, Pieces, perform’d upon the Organ, German and Common Flute, Flageolet, etc., Sonata’s, Concerto’s, Marches, Minuetts, Jiggs and Scots Airs, composed by Corelli, Alberoni, Mr. Handel and other great and eminent Masters of Musick.”[115]

This is the first public record we have, that works of such famous composers were played, and they must have become familiar, in a short time to a great number of inhabitants.

It will be remembered that Miss Ball’s capabilities in the province of music were confined to but two branches, voice and spinet. In 1749, however, appears a truly musical genius, if we may judge by the number of instruments which he played. This man was, as we learn from the following:

“John Beals, Musick Master from London [who] at his House in Fourth Street, near Chestnut Street, joining to Mr. Linton’s, collar maker, teaches the Violin, Hautboy, German Flute, Common Flute and Dulcimer by Note.“Said Beals will likewise attend young ladies, or others, that may desire it, at their houses. He likewise provides musick for balls or other entertainments.”[116]

“Said Beals will likewise attend young ladies, or others, that may desire it, at their houses. He likewise provides musick for balls or other entertainments.”[116]

Here was an opportunity for the inhabitants of the Quaker City to improve their time by learning music, and as the variety of instruments from which they might choose, was large, no doubt some of them became proficient musicians.

This same year saw the beginnings of drama and opera in Philadelphia, given by the English actors, Murray and Kean.[117]These dramatic performances were soon discontinued on account of the opposition of the public. From now until the latter part of the sixth decade of the eighteenth century there were desultory attempts to give dramas, but not until 1759 did the theatre prove successful and become permanent.

There was then in this decade an incipient appreciation of drama to which some music was oftentimes joined. What other music was there at this time? In 1750-4 Mittelberger says:

“The cultivation of music is rather rare as yet.... Some Englishmen give occasional concerts in private houses with a spinet or harpsichord.”[118]

Mittelberger’s statement concerning the cultivation of music is not quite true. Music undoubtedly was studied a greatdeal more than Mittelberger seems to think. If his statement that occasional private concerts were given by Englishmen is true, this was probably the kind of concert William Black attended in 1749,[119]and may have been similar to the concerts of 1740.[120]

During the first half of the eighteenth century Philadelphia was not so utterly devoid of musical culture as some of our historians of music would have us believe. The music was not entirely church music, and although musical culture was not so important a factor in the life of the people as at the present day, still music was beginning to make itself felt among intelligent people, and interest in it and appreciation of it were gradually growing.

FOOTNOTES:[76]Hart,American History told by Contemporaries II, p. 77, quoted from “The Voyage, Shipwreck and Miraculous Escape of Richard Castleman, Gent,” appended to “The Voyages and Adventures of Capt. Robert Boyle,” London, 1726, 4th Ed. 1786, p. 331.[77]Scharf & Wescott,History of Phila., Vol. II, p. 863.[78]American Weekly Mercury, March 5-14, 1727-8.[79]Pa. Gazette, March 5-13, 1729-30.[80]Scharf & Wescott,Hist. of Phila., Vol. I, p. 203.[81]Pa. Gaz., March 15 to 22, 1738-9.[82]American Weekly Mercury, June 19-26, 1729 [a correspondent].[83]Autobiography, p. 207.[84]American Weekly Mercury, June 19-26, 1729.[85]American Weekly Mercury, July 31 to August 7, 1729.[86]American Weekly Mercury, February 8, 1736 [first advertised].[87]American Weekly Mercury, March 2, 1733 [first advertised].[88]Perkins & Dwight,History of Handel & Haydn Society, p. 17 (note).[89]Scharf & Wescott, Vol. II, p. 863.[90]Pa. Gaz., Dec. 30, 1742.[91]Pa. Gaz., Jan. 27, 1743.[92]Pa. Gaz., July 2, 1744.[93]Pa. Gaz., May 31, 1744.[94]Pa. Gaz., Feb. 23 to March 4, 1730-31.[95]American Weekly Mercury, Aug. 7-14, 1729.[96]American Weekly Mercury, Sept. 10-17, 1730.[97]American Weekly Mercury, Nov. 11, 1733.[98]American Weekly Mercury, May 23, 1734.[99]Videabove, p. 26.[100]Videabove, p. 11.[101]Videabove, p. 17 ff.[102]American Weekly Mercury, March 4-13, 1728-9.[103]See above p. 18.[104]German Pietists, p. 412.[105]German Pietists, p. 418 (note).[106]Justus Falckner, p. 64 (note).[107]Pa. Gaz., July 2-9, 1730.[108]Pa. Gaz., June 15-22, 1738-9.[109]Pa. Gaz., Jan. 31, 1749.[110]Pa. Journal, Jan. 9, 1750.[111]Pa. Jour.and alsoPa. Gaz., May 24, 1750.[112]Pa. Gazette, May 1, 1740.[113]Pa. Gaz., May 8, 1740.[114]Penn. Mag. of Hist., Vol. I, p. 416.[115]Pa. Gaz., July 12, 1744.[116]Pa. Gaz., March 21, 1749.[117]Madeira,Annals of Music, p. 29.[118]Mittelberger’s Journey, p. 114 ff.[119]Cf. above, p. 31.[120]Cf. above, p. 30.

[76]Hart,American History told by Contemporaries II, p. 77, quoted from “The Voyage, Shipwreck and Miraculous Escape of Richard Castleman, Gent,” appended to “The Voyages and Adventures of Capt. Robert Boyle,” London, 1726, 4th Ed. 1786, p. 331.

[77]Scharf & Wescott,History of Phila., Vol. II, p. 863.

[78]American Weekly Mercury, March 5-14, 1727-8.

[79]Pa. Gazette, March 5-13, 1729-30.

[80]Scharf & Wescott,Hist. of Phila., Vol. I, p. 203.

[81]Pa. Gaz., March 15 to 22, 1738-9.

[82]American Weekly Mercury, June 19-26, 1729 [a correspondent].

[83]Autobiography, p. 207.

[84]American Weekly Mercury, June 19-26, 1729.

[85]American Weekly Mercury, July 31 to August 7, 1729.

[86]American Weekly Mercury, February 8, 1736 [first advertised].

[87]American Weekly Mercury, March 2, 1733 [first advertised].

[88]Perkins & Dwight,History of Handel & Haydn Society, p. 17 (note).

[89]Scharf & Wescott, Vol. II, p. 863.

[90]Pa. Gaz., Dec. 30, 1742.

[91]Pa. Gaz., Jan. 27, 1743.

[92]Pa. Gaz., July 2, 1744.

[93]Pa. Gaz., May 31, 1744.

[94]Pa. Gaz., Feb. 23 to March 4, 1730-31.

[95]American Weekly Mercury, Aug. 7-14, 1729.

[96]American Weekly Mercury, Sept. 10-17, 1730.

[97]American Weekly Mercury, Nov. 11, 1733.

[98]American Weekly Mercury, May 23, 1734.

[99]Videabove, p. 26.

[100]Videabove, p. 11.

[101]Videabove, p. 17 ff.

[102]American Weekly Mercury, March 4-13, 1728-9.

[103]See above p. 18.

[104]German Pietists, p. 412.

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

[106]Justus Falckner, p. 64 (note).

[107]Pa. Gaz., July 2-9, 1730.

[108]Pa. Gaz., June 15-22, 1738-9.

[109]Pa. Gaz., Jan. 31, 1749.

[110]Pa. Journal, Jan. 9, 1750.

[111]Pa. Jour.and alsoPa. Gaz., May 24, 1750.

[112]Pa. Gazette, May 1, 1740.

[113]Pa. Gaz., May 8, 1740.

[114]Penn. Mag. of Hist., Vol. I, p. 416.

[115]Pa. Gaz., July 12, 1744.

[116]Pa. Gaz., March 21, 1749.

[117]Madeira,Annals of Music, p. 29.

[118]Mittelberger’s Journey, p. 114 ff.

[119]Cf. above, p. 31.

[120]Cf. above, p. 30.

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