CHAPTER VIII.

Philip Roth and Philip Phile

Although Alexander Reinagle was the greatest musician of this period there were others of importance as Juhan, Moller, Capron, Brown, Schetky, Wolff, etc., etc. It is not our intention to take up these men separately, as material is too scanty to warrant it. Sonneck has given short biographies of most of these men.[233]There are two men, however, Philip Phile and Philip Roth about whom we know considerable. They were both musicians of no mean calibre, appeared frequently in the concerts given in Philadelphia, and were also composers of music.

Philip Roth’s first public appearance, as far as is known, was in 1771 at the benefit concert of John M’Lean, when an overture composed by him “for the occasion” was performed.[234]This piece was, perhaps, the first of importance composed by a German in Philadelphia. The advertisement speaks of him as “Master of the Band, belonging to his Majesty’s Royal Regiment of North British Fusileers.” However, as will be shown later, he was undoubtedly a true German.

From 1771 to 1785 we lose sight of Roth, but then he appears as a music teacher in Philadelphia.[235]It is quite likely that he was here still earlier. He lived in Philadelphia from 1785 on until his death in 1804.

The importance of Philip Roth lies in the fact that it has been claimed by some, that he is the composer of “The President’s March” to which the song “Hail Columbia” was set. Others claim that Philip Phile was the author. The claims of Philip Roth, which atthe most are meagre, rest upon an article in a newspaper of 1829, written by Wm. McKoy, twenty-five years after Roth was dead. This article, as will be shown, contains one error, and may contain others. The article in question reads thus:

“The seat of the Federal Government of the thirteen United States being removed to Philadelphia, and in honor of the new President Washington, then residing at No. 190 High Street, the March, ever since known as the President’s March, was composed by a German Teacher of Music, in this city, named Roth, or Roat, designated familiarly by those who knew him, as ‘Old Roat.’ He taught those of his pupils who preferred the flute, to give to that instrument the additional sound of the drone, while playing in imitation of the Scotch Bagpipe. His residence was at one time in that row of houses back from Fifth, above Race street, at that time known as ‘The Fourteen Chimnies’ some of which [1829] are still visible in the rear ground, north eastward of Mayer’s Church. In his person he was of the middle size and height. His face was truly German in expression; dark gray eyes, and bushy eye-brows, round pointed nose, prominent lips, and parted chin. He took snuff immoderately, having his ruffles and vest usually sprinkled with grains of rappee. He was considered an eccentric and a kind of drole. He was well knowntraditionallyat the Sampson and Lion, in Crown Street, where it seems, his company, in the Olden Time was always a welcome addition to the Pewter Pint Customers, gathered there, at their Pipes and Beer, while listening to his facetious tales and anecdotes, without number, of High Life about Town, and of the Players: Nick Hammond, Miss Tuke, Hodgkinson, Mrs. Pownall, and Jack Martin of the Old Theatre in Southwark. This said President’s March, by Roat, the popular songs of Markoe,[236]the City Poet, in particular the one called ‘The Taylor done over,’ and the beautiful air of ‘Dans Votre Lit,’ ... were sung and whistled by everyone who felt freedom (of mind) to whistle and sing.“Public opinion having ... released itself from a passion for French Revolutionary Musick and Song, experienced a vacuum in that particular, which was immediately supplied by the new, National American Song of ‘Hail Columbia happy Land,’ written in’98, by Joseph Hopkinson, Esq.[237]of this city, and the measure adapted by him very judiciously, to the almost forgotten President’s March. Even since 1798, the song of Hail Columbia, by Joseph Hopkinson, and the President’s March, byJohannesRoat, being indiscriminately called for, have become, in a manner synonymous to the public ear and understanding, when they are actually and totally distinct in their origin, as above mentioned.“Such was the popularity of the song, that very frequently has Mr. Gillingham, Leader of the Band, [Orchestra], been forced to come to a full stop in theforeignmusic, he had arranged for the evening by the deafening calls for this march, or song to the march.”[238]

“Public opinion having ... released itself from a passion for French Revolutionary Musick and Song, experienced a vacuum in that particular, which was immediately supplied by the new, National American Song of ‘Hail Columbia happy Land,’ written in’98, by Joseph Hopkinson, Esq.[237]of this city, and the measure adapted by him very judiciously, to the almost forgotten President’s March. Even since 1798, the song of Hail Columbia, by Joseph Hopkinson, and the President’s March, byJohannesRoat, being indiscriminately called for, have become, in a manner synonymous to the public ear and understanding, when they are actually and totally distinct in their origin, as above mentioned.

“Such was the popularity of the song, that very frequently has Mr. Gillingham, Leader of the Band, [Orchestra], been forced to come to a full stop in theforeignmusic, he had arranged for the evening by the deafening calls for this march, or song to the march.”[238]

In the first place, we wish to pick out a few errors, which will show why we must use this testimony with caution. The writer says that Roth was “well known traditionally,” evidentially not personally known to him. Again he says that the “President’s March” at the time “Hail Columbia” was written was “almost forgotten,” but on the contrary the actor, Gilbert Fox, urged Joseph Hopkinson to set words to that tune on account of its popularity. Thirdly, he says that the march was written byJohannesRoat. This is evidently an error in the Christian name due to traditions as we will try to show. We have gone carefully through the city directories from 1785 (when they were first printed,) to 1806; also the newspapers of that time, and wills and letters of administration but find no record of a “Johannes” Roat. We find aPhilipRoth, and we shall strive now to give proof that they were one and the same, as so far there has been no adequate statement of this fact.

To recapitulate: Philip Roth, we have already discovered, was a Band Master in a British regiment in Philadelphia, and wrote an overture in 1771.[239]All trace of him is lost during the war, but he probably continued to fill his position in the British Army, or possibly the same position in the U. S. army.

In 1785 there is the name Philip Roots in the city directory. In 1788 he has an advertisement in the newspaper,[240]while in 1789 we have the following:

“Mr. Roth, Music Master, In Pennington Alley running from Race to Vine Streets, between Fourth and Fifth Streets.“Teaches all kinds of Instrumental Music in the shortest manner, viz. Harpsichord or Piano Forte, Guitar, Flute, Hautboy, Clarinet, Bassoon, French Horn, Harp and Thorough-Bass, which is the Ground of Music, etc.”[241]

“Mr. Roth, Music Master, In Pennington Alley running from Race to Vine Streets, between Fourth and Fifth Streets.

“Teaches all kinds of Instrumental Music in the shortest manner, viz. Harpsichord or Piano Forte, Guitar, Flute, Hautboy, Clarinet, Bassoon, French Horn, Harp and Thorough-Bass, which is the Ground of Music, etc.”[241]

In this advertisement we have Mr. Roth; not Philip nor Johannes. This would imply that the above-mentioned man was the only person in Philadelphia by the name of Roth who was a music teacher. There was no city directory after 1785 until 1791. In this year there appears this entry:

“Philip Roth, musician 25 Crown St.”[242]

Now turning to the advertisement again we read that Mr. Roth lived:

“In Pennington Alley running from Race to Vine Streets, between Fourth and Fifth streets.” But the city directory informs us that Crown St., and Pennington Alley were one and the same.[243]To go a step further, let us compare the article on the ‘President’s March,’ above quoted, as to the abode of Johannes Roat, which says:

“His residence was atonetime in that row of houses back from Fifth, above Race street, at that time known as ‘The Fourteen Chimneys’ ... north-eastward from Mayer’s Church.”[244]

Now comparing these three dwelling places, we find that they were on the same street—at least two of them—and the third in the same neighborhood; but we find that there was only one man, which our evidence gives, so we may be perfectly sure that the other two men may be fused into the one—Philip Roth. This man lived, while he was in Philadelphia in one locality as the directories show.

1791 Philip Roth, musician, 25 Crown St.1795 Philip Roth, 31 Race St.1798 Philip Roth, Crown St.1797 Philip Roth musician, Crown St.1798 Philip Roth, musician Crown St.1799 Philip Roth, teacher of music, 33 Crown St.1800 Philip Roth, teacher of music, 33 Crown St.1801 Philip Roth, music master, 33 Crown St.1802 Philip Roth, music master, 33 Crown St.1803 PhilipRote, music master, 33 Crown St.1804 PhilipRote, music master, 33 Crown St.

His name is also given in the directory of 1805, but nevertheless he died in 1804.

From the above, it is seen that he lived on the same street all the time he was in Philadelphia, with the exception of the year 1795 when he dwelt at 31 Race St., which however, was not far away. We see, too, the different appellations given to him, as “musician,” “teacher of music,” and finally “master of music,” Evidently he was skilled as a musician, and was respected as such.

Little else is known about Philip Roth, but we may presume that he played in the orchestra of the “Old Southwark Theatre”—perhaps was even the leader, since we know that he was well acquainted with the actors.[245]We do know that he composed a piece of music, or rather set to music a “Hunting Song,” which was printed in the “Universal Asylum,” April, 1790. He must indeed, have been a skilful musician to be able to give lessons on all the instruments in his advertisement—nine in all—although he could not have been proficient on all. Still he must have been talented.

The date of his death has been misstated by the only author, who has mentioned it at all. O. G. Sonneck, in his book “Early Secular American Music” (1905) page 190, and in an article “Critical Notes on the Origin of Hail Columbia” printed in the “Sammelbände der Internationalen Musikgesellschaft” (1901) states that Philip Roth died in 1805.

It is true that in the City Directory for 1805 his name is found while in the directory for 1806 the following entry appears:

“Rote, widow of Philip, music master, 94 N. 7th St.”[246]

To offset the above evidence there is the documentary proof as follows:

“On the 24th day of September, 1804, Letters of Administration were granted unto Mary Roth on the Estate of her Husband, Philip Roth deceased.

$200. Henry Lies of Philadelphia, Victualler. Jacob Grace of Nor. Liberties, Carter. Sureties.”[247]

Philip Roth could not have amassed much wealth during his musical career, since his surety was only $200.

So much for Philip Roth and his claims as author of the “President's March.” The other claimant is Philip Phile, about whom we know as little as about Philip Roth. As early as 1784 Phile was in Philadelphia; as there is a concert advertised for his benefit in that year.[248]Somewhat later than this Durang, a contemporary of Phile tells us that:

“The orchestra at the beginning of the “Old American Company” production was Mr. Philo,leader; Mr. Bentley, harpsichord; Mr. Woolf, principal clarinet, Trimmer, Hecker, and son, violoncello, violins, etc. Some six or seven other names, now not remembered, constituted the musical force. ThelatterwereallGermans.”[249]

Mr. Phile was occupying a somewhat important position—the leadership of aGermanorchestra numbering some twelve or thirteen men. From now on until his death in 1793,[250]Phile wandered back and forth between New York and Philadelphia. In 1784 he appears on the concert programs in the latter city. In 1786 with Alexander Reinagle he played a duet for violin and ’cello in New York,[251]while the next year he is back again in Philadelphia.[252]In 1792 he takes part in a concert together with Philip Roth and other Germans.[253]Perhaps Roth was a member of his orchestra. After 1789 he apparently settled down in Philadelphia, and lived on Race St., between Front and Second.[254]

Such is the knowledge we have concerning Phile’s life. Let us consider what are his claims to the authorship of the “President’s March.” As in the case of Roth, the march was claimed for Phile by his friends; but in his case there are two different accounts of its origin as follows: 1. First it was claimed for him by his son, who says he was present when it was played. He says that the march was composed by his father, and played at Trenton Bridge in 1789 in honor of Washington, who was on his way to New York to be inaugurated.[255]2. Second, it is said by the nephew of Washington, G. W. Custis (1860), that this march was played in the John St. Theatre, N. Y., Nov. 24, 1789 in honor of Washington, who was present that evening. The composer is said to be a German named Feyles.[256]“Feyles” is a corruption of Phile and we also find it spelled Philo, Phylo, Phyla, Phyle, Phyles, Fyles, etc.

There are, then, two different statements as to the composition of this piece by Phile, which would lead us to think, that, in the minds of the people it was a doubtful question as to how and when this march was composed. To add to this, the claim that Philip Roth composed this march, only makes the situation more confused. Sonneck has pointed out in his article “Critical Notes on the Origin of Hail Columbia,”[257]that there was no account in the daily papers of that time concerning this march, as there probably would have been, had it been composed in honor of so important a man as Washington. He, however, inclines to the belief that Phile did writethe march; but until a manuscript with the name of the composer thereon is discovered, we cannot say with surety who did write it.[258]We have, then, these two composers before us and can pay our money and take our choice.

Concerning the compositions of these two men we know little. The overture composed by Roth in 1771 has already been mentioned. Sonneck also gives a “Hunting Song” set to music by Mr. Roth in 1790. Sonneck credits Phile with the following compositions.

17871. Violin Concerto by Mr. Phile.17902. Harmony Music, Phile.[259]In addition to these we have:17913. Overture by P. to be played at Vauxhall Concert, May 27.[260]4. Concerto Violin by Mr. Phile. At Vauxhall Sept. 2.[261]

FOOTNOTES:[233]Sonneck,Early Secular American Music, Index.[234]See Above, p. 54.[235]Cf.City Directory of Philadelphia, 1785.[236]Peter Markoe (1768-1792) born at Santa Cruz, West Indies, educated in Eng., died at Phila.[237]Son of Francis Hopkinson mentioned above as an important figure in Phila. musical development, Cf. Above, pp. ff.[238]Poulson’sDaily Advertiser, Jan. 13, 1829.[239]Cf. Above, p. 54.[240]Pa. Jour., Sept. 10, 1788.[241]Pa. Jour., Jan. 7, 1789.[242]City Directory, 1791, p. 110.[243]City Directory, 1795, p. 81.[244]Cf. Above p. 77.[245]Cf. Above, p. 89.[246]City Directory, 1806.[247]Cf.Letters of Administration, Book K, No. 156, p. 178 in office of Recorder of Wills, City Hall, Philadelphia.[248]Pa. Packet, Mar. 6, 1784.[249]Durang,History of the Stage in Phila., Chapter 12, [A rare book].[250]Sonneck,Early Secular American Music, p. 189.[251]N. Y. Packet, Jul. 13, 1786.[252]Pa. Packet, Jan. 13, 1787.[253]See Above, Note to 72.[254]Sonneck,Articlein Sammelbände (1901), p. 156.[255]Baltimore Clipper, 1841.[256]G. W. Custis,Recollections and Private Memoirs of Washing.p. 368. AlsoDiary of Geo. Wash.1789-1791, (ed. B. J. Lossing, 1860), p. 56.[257]Sammelbände der Internationalen Musikgesellschaft, 1901.[258]Many writers have expressed an opinion, but evidently their information consisted of a knowledge of onlyone claim.[259]Cf. Sonneck,Early Sec. Am. Musicfor these compositions.[260]Am. Daily Adv., May 25, 1791.[261]Am. Daily Adv., Sept. 2, 1791.

[233]Sonneck,Early Secular American Music, Index.

[234]See Above, p. 54.

[235]Cf.City Directory of Philadelphia, 1785.

[236]Peter Markoe (1768-1792) born at Santa Cruz, West Indies, educated in Eng., died at Phila.

[237]Son of Francis Hopkinson mentioned above as an important figure in Phila. musical development, Cf. Above, pp. ff.

[238]Poulson’sDaily Advertiser, Jan. 13, 1829.

[239]Cf. Above, p. 54.

[240]Pa. Jour., Sept. 10, 1788.

[241]Pa. Jour., Jan. 7, 1789.

[242]City Directory, 1791, p. 110.

[243]City Directory, 1795, p. 81.

[244]Cf. Above p. 77.

[245]Cf. Above, p. 89.

[246]City Directory, 1806.

[247]Cf.Letters of Administration, Book K, No. 156, p. 178 in office of Recorder of Wills, City Hall, Philadelphia.

[248]Pa. Packet, Mar. 6, 1784.

[249]Durang,History of the Stage in Phila., Chapter 12, [A rare book].

[250]Sonneck,Early Secular American Music, p. 189.

[251]N. Y. Packet, Jul. 13, 1786.

[252]Pa. Packet, Jan. 13, 1787.

[253]See Above, Note to 72.

[254]Sonneck,Articlein Sammelbände (1901), p. 156.

[255]Baltimore Clipper, 1841.

[256]G. W. Custis,Recollections and Private Memoirs of Washing.p. 368. AlsoDiary of Geo. Wash.1789-1791, (ed. B. J. Lossing, 1860), p. 56.

[257]Sammelbände der Internationalen Musikgesellschaft, 1901.

[258]Many writers have expressed an opinion, but evidently their information consisted of a knowledge of onlyone claim.

[259]Cf. Sonneck,Early Sec. Am. Musicfor these compositions.

[260]Am. Daily Adv., May 25, 1791.

[261]Am. Daily Adv., Sept. 2, 1791.

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