CHAPTER VII.
Alexander Reinagle.
During the Revolutionary War it has been stated, that concert music was at a premium. However in the fall of 1783 was founded by John Bentley, the City Concert, “which was an important step in the musical life of Philadelphia.” These concerts were to be given every two weeks. As no programs have been preserved, we are unable to determine just what music was used. As Sonneck says: “It goes without saying that John Bentley engaged the best musicians to be had in the city and that he performed music in keeping with the refined taste of such men as Francis Hopkinson and Thomas Jefferson.”[187]These concerts were evidently kept up until the season of 1785-6.
In 1786 a musician arrived in Philadelphia, who was of great importance to the musical life of that time. This was Alexander Reinagle one of the ablest musicians in America in that century.
He was born in 1765 at Portsmouth, England, of Austrian parents.[188]He seems to have inherited, as did his brothers Joseph and Hugh, a love of music from his father, who was a skilful musician. Alexander studied music in Scotland with Raynor Taylor, who later became one of the leading musicians in Philadelphia. The material concerning Reinagle before his arrival in America is scanty, but the few data there are show that he was known to the musical world of that time. In a memorandum book[189]of his, preserved in theLibrary of Congress, is an account of a trip which he took to Lisbon 1784-5 in company with his brother Hugh, an eminent ’cellist,[190]who was sick with consumption. They arrived in Lisbon the twenty-third of October, and Reinagle tells of their lodgings there, expenses, etc. Of special interest is an item for January, 1785:
“Had a Concert in the Assembly Room 8th Jany.—Performed to the Queen and R. family Sunday 16th July. Rec’d. a present from her Majesty of 50 Moids.”
After burying his brother Hugh, who died the nineteenth of March, 1785, he “embarked from Lisbon Sat. 23d April sail’d 24th & arrived in Portsmouth Tuesday 17th May. Made in Lisbon:
From these statements it would appear that his trip financially was a decided success. It would seem from the large sums of money obtained from his performances at Lisbon, that he must have been well known as a prominent musician. There is further evidence of his standing in the musical world disclosed by O. G. Sonneck in an article in the “Quarterly Magazine of the International Music Society,”entitled “Zwei Briefe C. Ph. Em. Bachs an Alex. Reinagle.” They were evidently good friends, as Bach writes:
“MonsieurJe Vous suis infinement obligé du Souvenir dont Vous m’honorez et je souhaite que Vous veuillez me le conserver toujours; et dans le cours de vos années les plus riantes. La nouvelle que Vous me donnez de la triste situation de Mr. Vôtre Frère m’a chagriné beaucoup; tant par rapport à Vous qu’à lui même. Le Ciel Vous comble de prospérités, une de plus chères c’est la santé même.Je Vous envoye la musique, que Vous m’avez demandé, le prix est fixé au prix ordinaire, la musique que je Vous ai donné pour vous même, à Hamburg étoit fixée au prix de premuneration, en Vôtre faveur. Quand Vous m’écrivez une autre fois, ne manquez pas de me marquer Vôtre sort, auquel je m’interesse beaucoup. En même temps je Vous prie de me faire avoir vôtre portrait et celui de Mr. vôtre frère, seulement en dessin, pour les placer dans mon cabinet de portraits des musiciens. Cela me servira d’aide dans le souvenir de vôtre amitié, dans le retour de laquelle je suis et serai toujours.MonsieurVôtretrès humble Serviteur.Hamburgce 25 du mois de Février 1785. Ch. Ph. Em. Bach.”
“Monsieur
Je Vous suis infinement obligé du Souvenir dont Vous m’honorez et je souhaite que Vous veuillez me le conserver toujours; et dans le cours de vos années les plus riantes. La nouvelle que Vous me donnez de la triste situation de Mr. Vôtre Frère m’a chagriné beaucoup; tant par rapport à Vous qu’à lui même. Le Ciel Vous comble de prospérités, une de plus chères c’est la santé même.
Je Vous envoye la musique, que Vous m’avez demandé, le prix est fixé au prix ordinaire, la musique que je Vous ai donné pour vous même, à Hamburg étoit fixée au prix de premuneration, en Vôtre faveur. Quand Vous m’écrivez une autre fois, ne manquez pas de me marquer Vôtre sort, auquel je m’interesse beaucoup. En même temps je Vous prie de me faire avoir vôtre portrait et celui de Mr. vôtre frère, seulement en dessin, pour les placer dans mon cabinet de portraits des musiciens. Cela me servira d’aide dans le souvenir de vôtre amitié, dans le retour de laquelle je suis et serai toujours.
Monsieur
Vôtre
très humble Serviteur.
Hamburg
ce 25 du mois de Février 1785. Ch. Ph. Em. Bach.”
The other letter is without date, but Sonneck conjectures that it was written the last of 1785 or the beginning of 1786. It runs as follows:
“Liebwehrtester Freund,Ich bedaure von Herzen den Verlust Ihres lieben und braven Herrn Bruders eben so sehr, als ich mich über Ihre gute Aufnahme in Lissabon und glückliche Wiederkunft in London gefreut habe. Ihr Project wegen meiner gedruckten Rondos kann mir in der Folge viel Schaden thun, weil meine mit grossen Kosten von mir in starken Auflagen verlegten Samlungen, worin sie stehen, unverkauft liegen bleiben werden. Die Liebhaherey zu den Rondos ist hier eben so gross, wie in London, und ich habe sie deswegen mit eingemischt, um meinen Verkauf zu befördern. Ich weiss aus der Erfahrung, dass sehr viele meine Samlungen blos wegen der Rondos kaufen. Folglich sind mir Exemplare von Ihren verlegten Rondos nichts nutze, sondern ich wünschte lieber, dass sie gar nicht nach Deutschland kämen, ohngeacht Westphal hier und Hummel in Berlin ganze Quantitäten von Ihnen würden kommen lassen. Ich will jedoch Ihnen, da Sie etwas damit zu verdienen glauben, einenWeg vorschlagen, wodurch Sie zu Ihrem Endzwecke kommen könnten, ohne einen Nachdruck befürchten zu dürfen. In der zweiten, dritten, vierten und fünften Samlung stehen überhaupt Rondos. Von diesen Samlungen haben Sie 4, aber die 5, glaube ich haben Sie noch nicht, und kann sie Ihnen, weil 2 Rondos darin stehen, überschicken. Zu diesen 11 Rondos will Ihnen noch 4 neue Rondos componieren; Ich will zufrieden seyn, dass Sie mir Erlaubnis zu dem Drucke dieser schon gedruckten 11 Rondos öffentlich kundthun; und endlich müssen Sie auch bekannt machen, dass ich ausdrücklich für Sie noch neue Rondos dazu gemacht habe. Diese 15 Rondos können Sie in 4 oder wenigern Abtheilungen herausgeben. Es muss aber in jedem Theile etwas neues davon stehen. Dieses Mittel und meine öffentliche Erlaubnis sichert Sie gewiss vor einem Nachdruck.Für meine Schadloshaltung und für meine neu dazu gekommenen Composition verlange ich nicht mehr und nicht weniger als 34 Guinees. Ich verspreche Ihnen zugleich, dass ich die 4 neuen Rondos niemanden geben noch viel weniger drucken lassen will. Ich kann Ihnen versichern dass 1 Theil von meinen Samlungen, worin nur 2 Rondos vorkommen, nach Abzug aller Kosten, mir wenigstens 1000 Mark hiesiges Geld bisher eingebracht haben, ohne einige 100 Exemplare zu rechnen, die ich noch vorräthig habe, und welche nach und nach auch verkauft werden. Die Auslieferung meiner 4 neuen Rondos auf einmahl geschiehet zugleich bey der Bezahlung auf einmahl. Wir sind sterbliche Menschen. Wegen der Fantasien künftig oder mündlich ein mehreres. Eine baldige genugthuende Antwort mit Ja! oder Nein! elbitte ich mir.Mit vielen Grüssen verharre ich Ihr Freund und Diener.Bach.Hier in Deuschland hat mir noch niemand etwas nachgedruckt; ich würde auch so gleich in den Zeitungen einen solchen Nachdrucker öffentlich als einen Betrüger erklärt haben, Dafür hält man hier durchgehends einen solchen Menschen, und das will Keiner wagen. Meine öffentliche Erlaubnis zu Ihrem Drucke und die neuen eingemischten Rondos würden ganz gewiss einen Nachdruck zu Ihrem Schaden abhalten.”[191]
“Liebwehrtester Freund,
Ich bedaure von Herzen den Verlust Ihres lieben und braven Herrn Bruders eben so sehr, als ich mich über Ihre gute Aufnahme in Lissabon und glückliche Wiederkunft in London gefreut habe. Ihr Project wegen meiner gedruckten Rondos kann mir in der Folge viel Schaden thun, weil meine mit grossen Kosten von mir in starken Auflagen verlegten Samlungen, worin sie stehen, unverkauft liegen bleiben werden. Die Liebhaherey zu den Rondos ist hier eben so gross, wie in London, und ich habe sie deswegen mit eingemischt, um meinen Verkauf zu befördern. Ich weiss aus der Erfahrung, dass sehr viele meine Samlungen blos wegen der Rondos kaufen. Folglich sind mir Exemplare von Ihren verlegten Rondos nichts nutze, sondern ich wünschte lieber, dass sie gar nicht nach Deutschland kämen, ohngeacht Westphal hier und Hummel in Berlin ganze Quantitäten von Ihnen würden kommen lassen. Ich will jedoch Ihnen, da Sie etwas damit zu verdienen glauben, einenWeg vorschlagen, wodurch Sie zu Ihrem Endzwecke kommen könnten, ohne einen Nachdruck befürchten zu dürfen. In der zweiten, dritten, vierten und fünften Samlung stehen überhaupt Rondos. Von diesen Samlungen haben Sie 4, aber die 5, glaube ich haben Sie noch nicht, und kann sie Ihnen, weil 2 Rondos darin stehen, überschicken. Zu diesen 11 Rondos will Ihnen noch 4 neue Rondos componieren; Ich will zufrieden seyn, dass Sie mir Erlaubnis zu dem Drucke dieser schon gedruckten 11 Rondos öffentlich kundthun; und endlich müssen Sie auch bekannt machen, dass ich ausdrücklich für Sie noch neue Rondos dazu gemacht habe. Diese 15 Rondos können Sie in 4 oder wenigern Abtheilungen herausgeben. Es muss aber in jedem Theile etwas neues davon stehen. Dieses Mittel und meine öffentliche Erlaubnis sichert Sie gewiss vor einem Nachdruck.
Für meine Schadloshaltung und für meine neu dazu gekommenen Composition verlange ich nicht mehr und nicht weniger als 34 Guinees. Ich verspreche Ihnen zugleich, dass ich die 4 neuen Rondos niemanden geben noch viel weniger drucken lassen will. Ich kann Ihnen versichern dass 1 Theil von meinen Samlungen, worin nur 2 Rondos vorkommen, nach Abzug aller Kosten, mir wenigstens 1000 Mark hiesiges Geld bisher eingebracht haben, ohne einige 100 Exemplare zu rechnen, die ich noch vorräthig habe, und welche nach und nach auch verkauft werden. Die Auslieferung meiner 4 neuen Rondos auf einmahl geschiehet zugleich bey der Bezahlung auf einmahl. Wir sind sterbliche Menschen. Wegen der Fantasien künftig oder mündlich ein mehreres. Eine baldige genugthuende Antwort mit Ja! oder Nein! elbitte ich mir.
Mit vielen Grüssen verharre ich Ihr Freund und Diener.
Bach.
Hier in Deuschland hat mir noch niemand etwas nachgedruckt; ich würde auch so gleich in den Zeitungen einen solchen Nachdrucker öffentlich als einen Betrüger erklärt haben, Dafür hält man hier durchgehends einen solchen Menschen, und das will Keiner wagen. Meine öffentliche Erlaubnis zu Ihrem Drucke und die neuen eingemischten Rondos würden ganz gewiss einen Nachdruck zu Ihrem Schaden abhalten.”[191]
These letters merely show that Reinagle before coming to this country was a capable musician, was known as such by prominent musicians in Europe, and probably through his intimacy with Bach would have studied quite extensively the compositions of German musicians.
It was in the year 1786 that Reinagle arrived in New York with the intention of settling. He inserted the following advertisement in theNew York Independent Journal:
“Mr. Reinagle, member of the Society of Musicians in London, gives lessons on the pianoforte, harpsichord and violin.”[192]
Evidently he did not prosper according to his expectations in New York, since the same year he established himself in Philadelphia. He at once became identified with the musical life of this city, and in conjunction with H. Capron, W. Brown and A. Juhan, Reinagle continued the “City Concerts” instituted in 1783.[193]The first programme played in that year will give some idea of the taste of the people of that epoch.
FIRST CONCERT, OCT. 19, 1786.
It will be seen by this programme that German music had its share of importance, and in later concerts the compositions of Mozart, Haydn, Händel, Bach, Pleyel, Abel, Stamitz, Schmittbauer, Heimberger, etc., were given. Undoubtedly the high grade of these concerts and the predominance of the works of German composers, was due to the musical taste of Reinagle.
It is not our intention here to give all the programs which were performed in Philadelphia during this period. Our intention is, however, to give new material which has hitherto not been published. The “City Concerts” Sonneck has traced through the year 1788, and then he adds that “apparently the City Concert was then discontinued as no further reference to it is made until the attempted revival in 1792.”[195]
Although no records have as yet been found, still it seems very probable that these concerts were continued without interruption through 1789-90. For the year 1791 there is a complete file of the programs given. The opening announcement is as follows:
“The first Concert will be held on Saturday the 22d instant, at the New-Rooms in Chestnut street, where they will be continued every other Saturday during the Season.”
PLAN OF THE FIRST CONCERT.
SECOND CONCERT, FEB. 5.
THIRD CONCERT, FEB. 19.
FOURTH CONCERT, MAR. 5.
FIFTH CONCERT, MAR. 26.
SIXTH CONCERT, APR. 16.
LAST CONCERT OF THE SEASON, APR. 30.
Besides the City Concerts, so-called Amateur Concerts were given at an early period and were still kept up in 1791, contrary to the belief of O. G. Sonneck. For instance there are advertisements and programs showing that the usual standard of concert music was performed.
“Amateurs’ Concert.
A concert will be performed at Mr. Henry Epple’s, at Seven o’clock this Evening.”[203]
Again we are notified that “this Evening the 3d instant there will be a Ball, only.”[204]It seems probable that these concerts were followed by a dance.
Also benefit concerts were still given as the following shows:
Benefit Concert for Master Duport, Mar. 19.
Benefit Concert for Miss Moller, Apr. 2.
Concerts were given, too, at Vauxhall with programs equally as good as those of the City and Amateur Concerts, and an orchestra was undoubtedly present.[207]
“Vocal and Instrumental Concert at Vauxhall, May 18.
VAUXHALL CONCERT, MAY 27.
VAUXHALL CONCERT, SEPT. 2.
By comparing these programs it will be readily seen that the performers in the City Concerts also take part in the Amateur and Vauxhall Concerts, etc., so we may be sure that the concerts were all about on a par.
The City Concerts were continued the next season.[211]The following announcement was made concerning them:
“City Concert,Of Vocal and Instrumental Music.Under the direction of Messrs. Reinagle and Moller. The vocal parts by Mrs. Sewel and Mrs. Morris. The concert will commence on Saturday the 19th instant, at the Assembly Room, in Chestnut street.”[212]
“City Concert,Of Vocal and Instrumental Music.
Under the direction of Messrs. Reinagle and Moller. The vocal parts by Mrs. Sewel and Mrs. Morris. The concert will commence on Saturday the 19th instant, at the Assembly Room, in Chestnut street.”[212]
FIRST CONCERT, NOV. 19.
SECOND CONCERT, DEC. 3.
THIRD CONCERT, DEC. 17.
FOURTH CONCERT, DEC. 31.
FIFTH CONCERT, JAN 14, 1792
SIXTH CONCERT
SEVENTH CONCERT, FEB. 11.
EIGHTH AND LAST CITY CONCERT OF THE SEASON HELD MAR. 10.
Finally a “City Concert Benefit” was given for Miss Moller.
Foot-Note; At a concert given at Vauxhall in 1792 the instrumental parts were taken by a number of Germans: Messrs. Phile, Schulz, Tremner, [Scotchman Bremner,] Roth, Christhilf, Spangenberg etc., (Cf.Am. Daily Adv.June 8, 1792).Cf. Durang,History of the Stage in Phila., Chapter 12, who gives the name Trimmer.
Foot-Note; At a concert given at Vauxhall in 1792 the instrumental parts were taken by a number of Germans: Messrs. Phile, Schulz, Tremner, [Scotchman Bremner,] Roth, Christhilf, Spangenberg etc., (Cf.Am. Daily Adv.June 8, 1792).
Cf. Durang,History of the Stage in Phila., Chapter 12, who gives the name Trimmer.
A glance at these programs or at the City Concert programs published by Sonneck[222]should convince anyone that the musical taste of Philadelphia was good, also that the German composers were favorites—at least with the managers—and a predilection was shown for Abel, Stamitz, Pleyel, and Haydn.
Reinagle was not only interested in the artistic production of music, but also, according to one writer, in the industrial development. He is said to have had a share in the piano manufactory established by Charles Tawes.[223]
Concerning the residence of Reinagle in Philadelphia, his contemporaries have something to say. At that time Wignell was an important factor in the theatrical world and in the fall of 1791 he “associated himself with Mr. Reinagle, a professor of music in Philadelphia, and a composer of some note at that time.”[224]They founded the first Chestnut Street Theatre, “the corner stone of which was laid by Mr. Reinagle, a Master Mason, in Masonic form.”[225]
The new theatre was opened to the public for the first time on Saturday evening, April 2d, 1793, “with a grand concert of vocal and instrumental music.”[226]
“The orchestra department was under the direction of Manager Reinagle, and the musicians were deemed equal in ability with the stage artists. In truth the orchestra contained about twenty accomplished musicians, many of them of great notoriety as concerto players on their respective instruments.
“The concentration of that early date of so much dramatic, operatic and instrumental talent, introduced a new era of theatricals here.
“Who that once saw old manager Reinagle in his official capacity, could ever forget his dignified personne. He presided at his piano forte, looking the very personification of the patriarch of music—investing the science of harmonious sounds, as well as the dramatic school, with a moral influence, reflecting and adorning its salutary uses with high respectability and polished manners. His appearance was of the reverent and impressive kind, which at once inspired the universal respect of the audience. Such was Reinagle’s imposing appearance, that it awed the disorderly of thegalleries, or the fop of annoying propensities, and impertinent criticism of the box lobby into decorum.
“It was inspiring to behold the polished Reinagle saluting from his seat (before the grand square piano forte in the orchestra) the highest respectability of the city, as it entered the boxes to take seats. It was a scene before the curtain that suggested a picture of the master of private ceremonies receiving his invited guests at the fashionable drawing room.
“Mr. Reinagle was a gentleman and a musician. His compositions evinced decided cleverness and originality, and some of his accompaniments to the old opera music were much admired by good judges.”[227]
An article by William McKoy presents a clearer picture of Mr. Reinagle. He says:
“Mr. Reinagle, one of the Managers, and a Professor of Music, used to be seen, but only on particular occasions, seated at the Piano Forte, then standing against the stage, in the rear of the band [orchestra] for the mere purpose of touching a few notes solo, by way of accompaniment to the silvery tones of Mrs. Wignell. * * * Mr. Reinagle, while thus enjoying the effect of her inimitable chant, exhibited to the audience a head not unlike that of Louis the XIV but divested of the simplicity, bushy, powdered hair, large high forehead, and round full face, illuminated by silver mounted spectacle glasses, a perceptible smirk at all times about the mouth, and an extraordinary depth of dimple in his cheek, while sitting there and surveying the irritability of Mr. Gillingham, the Leader of the Band, on his being obliged to leave the music of Händel and Mozart, and strike off into the ‘President’s March.’”[228]
In Durang’s account, the compositions of Reinagle are spoken of highly; there is the testimony of another man, an actor in Reinagle’s company, to substantiate the above eulogy, as follows (1804):
“By the death of Wignell * * * the management devolved upon his widow and Reinagle. * * * The musicaldepartment fell of course to the charge of Reinagle, whose compositions and adaptations were deserved favorites with the public.”[229]
Again, there is the testimony of a man of our own times to show that the above praise was not undeserved. Speaking of some of Reinagle’s sonatas, O. G. Sonneck says:
“These sonatas follow closely in the footsteps of Ph. Em. Bach and the early Haydn without being void of individuality. If the larger works of Reinagle all were as fine and effective as these sonatas he must have been a composer of merit.”[230]
Sonneck has published titles of forty-two works ascribed to Reinagle,[231]to which we have added several others some of which are still in existence. These compositions include sonatas, overtures, preludes, songs, opera music, adaptations, accompaniments, etc.
From all this evidence it will appear that Alexander Reinagle must have been a great force in music in Philadelphia, and did much to shape the taste of the people for good music—especially for German music, and may thus be called the greatest German American musician of that century.
Concerning his home life, it is known that Reinagle was married and had two sons, Hugh, a scenic painter of some note, and Thomas. The later years of his life Reinagle spent in the management of a theatre in Baltimore, where he died September 21, 1809.[232]
Note: For a list of Reinagle’s compositions, Cf. Appendix.