CHAPTER VI.

Concert Music.

In a previous chapter it was shown that a kind of subscription concert was given as early as 1744, and although there is no record of public or private concerts being given for sometime after that, it is only natural to suppose that at least private chamber concerts were given.

We may be sure that bands were a feature at an early date, and no doubt added somewhat to the musical life of Philadelphia. It is not until 1755, however, that there is any mention of such an organization. However in that year we learn that a “Band of Musick” headed a procession of Masons on St. John’s Day.[143]How important this procession was considered by the onlookers is seen from the testimony of Daniel Fisher who writes in his diary:

“I should observe that on St. John the Baptist Day (June 24) there was the Greatest Procession of Free Masons to the Church and their Lodge, in Second Street that was ever seen in America. No less than 160 being in the Procession in Gloves, Aprons, etc., attended by a band of Music.”[144]

This band probably was not like those of the present time, but may have been satisfactory to the inhabitants of old Philadelphia. We may assume it was similar to a drum and fife corps, although this assumption may do injustice to the musical taste of that time. Anyway we have the year following a more detailed description of a procession including music.

“The Philadelphia Regiment consisting of upwards of 1,000 able-bodied men after being reviewed and performing the Manual Exercises [went] thro’ the Town in Three Grand Divisions ... with Hautboys and Fifes in Ranks ... [and] Drums between the third and fourth Ranks.”[145]

This is certainly a small beginning but the band had come to stay and apparently was popular, and probably was used in most processions and public celebrations. After the victory at Louisburg fireworks were displayed in Philadelphia and a performance of a “Band of Music playing Britons strike home.”[146]

At a later date bands of the British regiments stationed in Philadelphia, aided at the public commencements of the “College and Charity School”[147]now the University of Pennsylvania.

The year 1757 is very important in the history of music in Philadelphia. We have now the “firstpublicconcerts on record,” says O. G. Sonneck.[148]The advertisement runs:

“By particular Desire. On Tuesday next, the 25th instant, at the Assembly Room, in Lodge Alley will be performed a Concert of Music, under the direction of Mr. John Palma,[149]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.”[150]

Another concert was given March 25th, of this same year.[151]This year, too, a man appears in musical circles, who undoubtedly exercised more influence upon musical affairs in Philadelphia than any one man before or since. This is no other than Frances Hopkinson, statesman, signer of the Declaration of Independence, Lawyer, Writer, Inventor, Composer of Music, etc., etc. His contributions to the music and musical taste of this country is little known, butwhen we say that the evidence points to him as the first native composer in America, although Jas. Lyon of this city may have been—they both wrote music as early as 1759[152]—this fact makes him a man of the greatest importance in musical circles. We wish to correct here a statement made by various writers on American music, that William Billings was the first American composer. This is absolutely false, since Hopkinson and Lyon composed music at least ten years before Billings did, while the latter was yet a child.

It will not be out of place here to give a short account of Frances Hopkinson, laying particular stress upon his musical labors, especially as regards German music.

Frances Hopkinson was born in Philadelphia, Sept. 21, 1737, the son of Thomas and Mary Hopkinson. He must have been keen, active, and studious, since, while yet a boy of twenty, he received his degree with the first class ever graduated from the College of Philadelphia. From now on he advanced in knowledge and in favor with the world. In 1760 he received the degree of Master of Arts from his Alma Mater, and in 1763 received the same degree from the College of New Jersey. In 1790 his own college conferred upon him the degree of Doctor of Laws.

His public life was too active to give more than the briefest sketch. His first public office was that of secretary to the governor in a conference between the latter and the Lehigh Indians. From now on, he held many offices, as secretary of the Library Company in 1759; 1772 Collector of the Port of New Castle; 1774 held a seat in Provincial Council of New Jersey; 1776 delegate to the Continental Congress; signer of the Declaration of Independence; 1779 Judge of the Admiralty from Pennsylvania; 1778 Trustee of the College of Philadelphia. Besides this, he wrote many political pieces of which “The Battle of the Kegs,” 1778, was the most popular. He was also for a time organist in Christ Church, instructor in psalmody, a pillar of the church, and an inventor of improvements for the harpsichord.[153]

Our first knowledge that Hopkinson studied music is a notice in the magazine containing his “Ode on Music,” which remarks:

“Written at Philadelphia by a young Gentleman of 17, on his beginning to learn the Harpsichord.”[154]

The only professional music master at that time was John Beals,[155]but, later, 1757, came John Palma[156]and in 1763 James Bremner.[157]Hopkinson may have taken lessons from any or all of these men for all we know to the contrary; but it is certain that he was a pupil of Jas. Bremner, a Scotch musician of some note.[158]

Hopkinson made his first public appearance as a musician probably in 1757 when the “Masque of Alfred”—words by Thompson-Mallett; music by Dr. Arne—was given at the College of Philadelphia as an exercise in oratory.[159]He may have been accompanist for this performance.

It is interesting to note with what music Hopkinson was acquainted at this time and for this purpose I shall quote from Sonneck’s exhaustive work:

“The torso of a book with the memorandum ‘Frances Hopkinson, 1755,’ attracts our attention. It is in manuscript, possibly of the owner. Most pieces have a figured base, and are Italian, French, English trios, songs, and duets, arranged for the harpsichord, amongst them for instance ‘A Song in the Triumph of Hibernia,’ an ‘Air in Atalanta’ by Händel, and a famous ‘Water Piece’ by the same author.”[160]

Another book of manuscript bearing the date, 1759, contains pieces by “Händel withtenpieces (Samson, evidently being Hopkinson’s favorite oratorio by the master), ‘Signor Palma,’ and ‘SignorVinci’ both with four: Arne with two; Pepush (Alexis a Cantata!) Dr. Boyce, Pergolesi, and Purcell with one piece.”[161]

A third volume called “Lessons”, date not given, contains, among others, compositions by: “Händel ‘who (predominates,) Scarlatti, Abel, Stamitz, Vivaldi, Galuppi, Pugnani, Stanley, Smith, [Schmidt], Pasquali, Giardini, Corelli, Geminiani, Lord Kelly.’”[162]

From these manuscripts it will be seen that Hopkinson was familiar with many of the best composers of the world. He was evidently especially fond of Italian and English composers, but we may judge that he liked Händel’s music best of all. In the list directly above there are mentioned the following Germans: Händel, Abel, Stamitz, Schmidt; also the Englishman, Stanley, was a particular friend of Händel, and his music, as was all music of England at that time, must have been modeled after Händel’s; then there is Lord Kelley who studied music in Germany. We believe that the greater part of this music was brought to Hopkinson’s attention by the music-masters from London, and if that is so, it naturally follows that others of their pupils became acquainted with standard composers. We may be sure, too, that Händel, who was almost idolized in England during this century, had impressed these English American music-masters with his importance, and they would not keep to themselves their knowledge of him and his works. Händel, says one writer:

“For nearly a century ... stood to the English school as a model of everything that was good and great, to such an extent that very little of original value was accomplished in that country, and when, by lapse of time and a deeper self-consciousness on the part of English musicians, this influence had begun to wane, a new German composer came in the person of Felix Mendelssohn Bartholdy, who, in turn, became a popular idol, and for many years a barrier to original effort.”[163]

To turn again to Hopkinson we find that he not only had manuscript books of music, but also printed works such as:

“Six Sonatas for the Piano Forte or Harpsichord, Composed by Frederick Theodor Schumann, Opera 5thLondon.[162]“Händel’s Songs selected from the Oratorios.”[162]

“Six Sonatas for the Piano Forte or Harpsichord, Composed by Frederick Theodor Schumann, Opera 5thLondon.[162]

“Händel’s Songs selected from the Oratorios.”[162]

Then there were books by Italian composers, with which we are not concerned.[164]

From the evidence already presented, it will probably be granted that, the German concert music which was found in Philadelphia in the early 18th century, was brought in rather by the English musicians than by the Germans. We find the taste for music in London reflected by the various music teachers, and by the actors who came to Philadelphia from London during the sixth and seventh decades. This English influence lasted until the War of the Revolution during which there was a period of quiescence. After peace was restored, the English, Germans, and French—the latter exiles and victims of the French Revolution—all aided in the continuance of high class music.

Subscription concerts or in fact concerts of any kind seem to have gone out of fashion in Philadelphia, but in 1764 there was an awakening and a series of concerts was instituted, beginning January the nineteenth; “to be continued every other Thursday, till the 24th of May following. No more than 70 Subscribers will be admitted, and each, on paying Three Pounds for the Season, to have one Lady’s Ticket to be disposed of every Concert Night, as he thinks proper.”[165]

This then was a series of subscription concerts and must have been confined to the aristocracy of the town. The next year another series of such concerts was given,[166]so they were evidently quite successful. Of these concerts there has been no program discovered, but in the spring of 1765 there is a program of a concert, which is probably representative of the programs given at that time. The advertisement for this concert is of interest:

“On Wednesday evening the 10th Instant at the College Hall in this City was performed a solemn Entertainment of Music under theDirection of Mr. Bremner;[167]interspersed with Oratorios, by some of the young Students.... Nearly One Hundred and Thirty Pounds was raised for the Benefit of the Charity Schools belonging to the said College.”[168]

The program included overtures of Stamitz, Kelly, and Arne, and Martini, and a concerto of Geminiani; also, sacred songs, orations, and a violin solo.

Besides these exhibitions there were probably concerts of chamber music, as witness:

“Even in the last century [18th] it was usual for families to have meetings at their houses for their improvement in music. Governor Penn, who played the violin, had musical soirees every Sunday evening at his house in South Third Street, during a portion of the year. Dr. Adam Kuhn, himself an amateur, attended them.”[169]

The first definite mention of an orchestra was in 1767 when it was announced that the singing in the Southwark Theatre was “accompanied by a Band of Music.”[170]An estimate as to this orchestra is herewith given: violins, flute, harpischord, oboe, ’cello, trumpet, and, perhaps, French horn and drum.

There were sparks in the town, who also, indulged in serenading their lady loves, an account of which is given byan Englishmanin a letter to his sister:

“Dear Sister, ... Pray (as old Polonious says) when you ‘was young and in love,’ did you approve of serenading? It is extremely in vogue here now. The manner is as follows: We, with four or five young officers of the regiment in barracks, drink as hard as we can, to keep out the cold, and about midnight sally forth, attended by theband, which consists of ten musicians, horns, clarinets, hautboys, and bassoons, march through the streets, and play under the window of any lady you choose to distinguish; which they esteem a high compliment. In about an hour all the blackguards who sleep upon the bulks, with gentlemen of a certain profession who sweeten the streets at night, are collected round, drawn by thatcharm which soothes a savage breast, and altogether make it extremely agreeable in a fine frosty morning.”[171]

In this letter are mentioned clarinets and bassoons, instruments possibly not common in Philadelphia. The band probably belonged to the regiment of which the writer was a member, and was very small compared to the regimental bands of to-day.

That there could not have been many professional musicians in Philadelphia is shown by a notice concerning the Southwark Theatre in 1769:

“The Orchestra on Opera Nights, will be assisted by some musical Persons, who as they have no View, but to contribute to the Entertainment of the Public, certainly claim a Protection from any Manner of Insult.”[172]

Evidently at this early period people were beginning to be critical, and, as the orchestra did not come up to their expectations, they did not hesitate to show their resentment.

It has been said that no concerts are to be traced in Philadelphia in 1766 and 1767.[173]In 1767 however, Mr. Garner, a teacher of psalmody advertises four charity concerts,[174]upon which a little light is thrown by the following notices given by Mr. Garner concerning one of these concerts:

“The vocal parts by Mr. Wools, Miss Wainwright, and Miss Hallam. The greatest care shall be taken to render the entertainment pleasing and satisfactory.”[175]

The program not being in existence, we cannot say with a surety what character it assumed. It may have been partly of a sacred character, but it is also likely, since the three singers mentioned belonged to the theatre, that the program had at least a semi-worldly tinge.

In 1767 arrived in Philadelphia an Italian, John Gualdo, who exercised, for a few years, a great influence upon the musical tasteof the people. His choice of music was not limited to compositions of Italian masters, nor to his own compositions, since one of his advertisements states, that the instrumental music is “by Messieurs Geminiani, Barbella, Campioni, Zanetti, Pellegrino, Abel, Bach, Gualdo, the Earl of Kelley, and others.”[176]

Sonneck dates Gualdo’s first concert Nov. 16, 1769,[177]but according to the following advertisement it would seem to have taken place a month earlier:

“To The Public:“At the Assembly Room, on next Wednesday (being the 18th of October) will be performed a concert of vocal and instrumental music, for the Benefit of a little Master, not seven years old, who will give a specimen of his early abilities.—The concert to be directed by Mr. Gualdo, after the Italian Method. Tickets at a Dollar a piece.... After the Concert, the company (if agreeable) shall be furnished with a set of players, without any expences, in order to end the evening with a ball.”[178]Handbills were distributed giving the program.

“To The Public:

“At the Assembly Room, on next Wednesday (being the 18th of October) will be performed a concert of vocal and instrumental music, for the Benefit of a little Master, not seven years old, who will give a specimen of his early abilities.—The concert to be directed by Mr. Gualdo, after the Italian Method. Tickets at a Dollar a piece.... After the Concert, the company (if agreeable) shall be furnished with a set of players, without any expences, in order to end the evening with a ball.”[178]Handbills were distributed giving the program.

In his next concert, Nov. 16, two of his performers were Germans, if we may judge from the names. Mr. Curtz played the harpsichord, while Mr. Hoffman Jr., was a clarinet soloist.[179]Another concert not noted by Sonneck was to be given after the races on Sept. 27, 1770.[180]In his next advertisement Gualdo gives a list of the instruments to be used in his next concert, as follows: violins, German flutes, French horns, clarinet, harpischord, and mandolin.[181]In 1771 Gualdo gave his last concert. This same year is important as it brings to our notice a German, Philip Roth, who was, perhaps, the firstGermancomposer of secular music in Philadelphia. This first piece was composed for the following concert:

“By Permission and particular Desire,For the Benefit of Mr. John McLean (Instructor of the German Flute). Will be performed, at the Assembly Room, in Lodge Alley,A Concert of Music, Vocal and Instrumental: To begin precisely at Six o’clock in the Evening. On Thursday the Fifth of December.The Concert will consist of two Acts, commencing and ending with favourite Overtures, performed by afull Bandof Music, with Trumpets, Kettle Drums, and every Instrument that can be introduced with Propriety. The Performance will be interspersed with the most pleasing and select Pieces composed by approved Authors; and a Solo will be played on the German Flute, by John M’Lean, and the whole will conclude with anOverture, composed(for the Occasion) byPhilip Roth, Master of the Band, belonging to his Majesty’s Royal Regiment of North British Fusileers, etc.”[182]

“By Permission and particular Desire,

For the Benefit of Mr. John McLean (Instructor of the German Flute). Will be performed, at the Assembly Room, in Lodge Alley,A Concert of Music, Vocal and Instrumental: To begin precisely at Six o’clock in the Evening. On Thursday the Fifth of December.

The Concert will consist of two Acts, commencing and ending with favourite Overtures, performed by afull Bandof Music, with Trumpets, Kettle Drums, and every Instrument that can be introduced with Propriety. The Performance will be interspersed with the most pleasing and select Pieces composed by approved Authors; and a Solo will be played on the German Flute, by John M’Lean, and the whole will conclude with anOverture, composed(for the Occasion) byPhilip Roth, Master of the Band, belonging to his Majesty’s Royal Regiment of North British Fusileers, etc.”[182]

From this advertisement it will be seen that there must have been an orchestra or band of some importance at this time, and it is quite probable that the British regiments which at various times were stationed in Philadelphia, were important factors in extending the love of music, by means of concerts which the regimental bands must have given.

In 1772 a concert program of little interest was given at the State-house,[183]and in 1774 one by Sigr. Sodi.[184]In a previous chapter was mentioned H. B. Victor, and the concert he intended to give.[185]

The War of the Revolution soon dawned, and with it matters of a serious nature engaged the minds of the people, although occasionally a ball was given, and perhaps regimental concerts. The play houses, which for over ten years, had been an important feature, and had been well patronized by Philadelphians, were closed in 1778 by Act of Congress, but, nevertheless, there was given occasionally a farce or concert.[186]Still music and drama were almost at a standstill during the war.

FOOTNOTES:[143]Pa. Gaz., Jun. 26, 1755.[144]Pa. Mag. of Hist., Vol. XVII, p. 273.[145]Pa. Journal, Mar. 2-5, 1756.[146]Pa. Gaz., Sept. 7, 1758.[147]Pa. Gaz.[148]Cf. O. G. Sonneck,Frances Hopkinson and James Lyon.[149]Palma was formerly a music teacher in London.[150]Pa. Gaz., Jan. 20, 1757.[151]Pa. Journal, Mar. 24, 1757.[152]Cf. Sonneck, “Frances Hopkinson, etc.” [An admirable discussion.][153]Cf. E. P. Cheney,History of U. of P., p. 288 ff. Also Cf. Sonneck, “Frances Hopkinson, etc.”[154]American Magazine, Oct. 1757.[155]Cf. Above, p. There was however a musicmistress. Cf. above, p.[156]Cf. Above 9.[157]Pa. Gaz., Dec. 1, 1763.[158]Sonneck,Frances Hop., etc., p. 29.[159]Sonneck,Frances Hop., etc., p. 22 and 40,Pa. Gaz., Jan. 20, 1757.[160]Sonneck,Fr. Hop., etc., p. 32.[161]Sonneck,Fr. Hop., etc., p. 33.[162]Sonneck,Fr. Hop., etc., p. 34.[163]W. S. B. Matthews.A Popular History of Music, p. 281.[164]Sonneck,Fr. Hop., etc., p. 34.[165]Pa. Gaz., Jan. 12, 1764.[166]Pa. Gaz., Nov. 1, 1764.[167]Cf. Above, p.[168]Pa. Gaz., Apr. 18, 1765.[169]W. G. Armstrong,Record of the Opera in Phila., p. 6.[170]Pa. Gaz., Sept. 24, 1767.[171]Pa. Mag. of Hist., Vol. XI, p. 281.[172]Pa. Gaz., Nov. 30, 1769.[173]Cf. Sonneck,Early Concert Life.[174]Pa. Journ., Jan. 8, 1767.[175]Pa. Chronicle, Feb. 2, 1767.[176]Pa. Jour., Nov. 30, 1769.[177]Sonneck,Early Concert Life, etc., p. 71.[178]Pa. Chron., Oct. 16, 1769.[179]Cf. Program in Sonneck’s,Early Concert Life, p. 31.[180]Pa. Jour., Sept. 27, 1770.[181]Pa. Chron., Oct. 8, 1770.[182]Pa. Gaz., Nov. 28, 1771.[183]Pa. Gaz., Aug. 19, 1772.[184]Sonneck,Early Concert Life, p. 76.[185]Cf. Above, p. 39.[186]Madeira,Annals of Music, p. 33.

[143]Pa. Gaz., Jun. 26, 1755.

[144]Pa. Mag. of Hist., Vol. XVII, p. 273.

[145]Pa. Journal, Mar. 2-5, 1756.

[146]Pa. Gaz., Sept. 7, 1758.

[147]Pa. Gaz.

[148]Cf. O. G. Sonneck,Frances Hopkinson and James Lyon.

[149]Palma was formerly a music teacher in London.

[150]Pa. Gaz., Jan. 20, 1757.

[151]Pa. Journal, Mar. 24, 1757.

[152]Cf. Sonneck, “Frances Hopkinson, etc.” [An admirable discussion.]

[153]Cf. E. P. Cheney,History of U. of P., p. 288 ff. Also Cf. Sonneck, “Frances Hopkinson, etc.”

[154]American Magazine, Oct. 1757.

[155]Cf. Above, p. There was however a musicmistress. Cf. above, p.

[156]Cf. Above 9.

[157]Pa. Gaz., Dec. 1, 1763.

[158]Sonneck,Frances Hop., etc., p. 29.

[159]Sonneck,Frances Hop., etc., p. 22 and 40,Pa. Gaz., Jan. 20, 1757.

[160]Sonneck,Fr. Hop., etc., p. 32.

[161]Sonneck,Fr. Hop., etc., p. 33.

[162]Sonneck,Fr. Hop., etc., p. 34.

[163]W. S. B. Matthews.A Popular History of Music, p. 281.

[164]Sonneck,Fr. Hop., etc., p. 34.

[165]Pa. Gaz., Jan. 12, 1764.

[166]Pa. Gaz., Nov. 1, 1764.

[167]Cf. Above, p.

[168]Pa. Gaz., Apr. 18, 1765.

[169]W. G. Armstrong,Record of the Opera in Phila., p. 6.

[170]Pa. Gaz., Sept. 24, 1767.

[171]Pa. Mag. of Hist., Vol. XI, p. 281.

[172]Pa. Gaz., Nov. 30, 1769.

[173]Cf. Sonneck,Early Concert Life.

[174]Pa. Journ., Jan. 8, 1767.

[175]Pa. Chronicle, Feb. 2, 1767.

[176]Pa. Jour., Nov. 30, 1769.

[177]Sonneck,Early Concert Life, etc., p. 71.

[178]Pa. Chron., Oct. 16, 1769.

[179]Cf. Program in Sonneck’s,Early Concert Life, p. 31.

[180]Pa. Jour., Sept. 27, 1770.

[181]Pa. Chron., Oct. 8, 1770.

[182]Pa. Gaz., Nov. 28, 1771.

[183]Pa. Gaz., Aug. 19, 1772.

[184]Sonneck,Early Concert Life, p. 76.

[185]Cf. Above, p. 39.

[186]Madeira,Annals of Music, p. 33.

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