History of Philadelphia, 1609-1884, Part 54

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author
Publication date: 1884
Publisher: Philadelphia, Pa. : L. H. Everts & Co.
Number of Pages: 992

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MUSIC, MUSICIANS, AND MUSICAL SOCIETIES.

deserve mention, among which may be named those of William B. Bement, Henry C. Gibson, Fairman Rogers, James L. Claghorn, and George Whitney.

CHAPTER XXXIII.

MUSIC, MUSICIANS, AND MUSICAL SOCIETIES.

THERE was no music in the Quakers. Even from their worship they excluded the hymn of humility and the psalm of praise. They were a peculiar people, more so upon this subject than the Puritans. The latter, while opposed to instrumental music in their churches, encouraged the utterance of vocal praise. The precentor was an important church officer in the Presbyterian worship. The manner in which he led the tunes was nearly as important as the text and method of the sermon. Congregational singing was a dnty and an observance among the Presby- terians. In his house usnally the member of that sect abstained from the nse of musical instruments himself, and did not permit such enjoyment to his family. Here then were two great influences among the early Pennsylvanians against the cultivation of the art of music for purposes of enjoyment. On the other side was the limited influence of the Swedes, whose religious services, framed upon those of the Catholic Church, imitated the original as closely as Protestant doctrines would admit. When Christ Church was founded the hymn, psalm, and anthem were immediately adopted, according to the fashions of the Church of England. The Baptists used the hymn in their meetings. The German Reformed and the Lutherans were of similar taste. The Moravians shocked the early Quakers and Presbyterians, who denominated organs "whistle-boxes," by introducing that instrument, and accompanied it with profane brass, wind, and stringed instruments,-the trumpet, the clarionet, the harp, and even the violin and bass viol. When the Catholic chapel of St. Joseph's was opened the musical periods of the service were cultivated under the care of Father Harding and his successors. The choir might have been weak at times, but they must have fostered it with care and sought the acquisition of new voices whenever there was op- portunity. Whatever musical taste there might have been among the early settlers had been acquired before they had come to America, and much of it was only a memory.

In a community in which the predominant feeling was in opposition to amnsements, even harmony could hope for little encouragement. Such amusements as were common were of the rougher sort; horse-racing, swimming in summer and skating in winter, hunting, fowling, and fishing. In the first year after the foun- dation of the city the gravity of the grand jury was

shocked by juvenile delinquencies. They spoke "of the great rudeness and wildness of ye youth and chil- dren in ye town of Philadelphia. . . . That they daily appear np and down ye streets gaming and playing for money." Except snch recreation as was physical, or might be procured from games of chance or address, there was little that could interest children, and still less for the amusement of grown people outside of the cold hard work of life, and the performance of religious duties. Friends' Yearly Meeting, in 1716, advised against Friends "going to or being in any way concerned in plays, games, lotteries, music, and dancing." In the succeeding year there was a " pro- nouncement against races, gaming," or needless and vain sports and pastimes, "for our time passeth swiftly away, and our pleasures and delights ought to be in the law of the Lord." For nearly sixty years music in the city must have been a chance gratifica- tion and a novelty. It is known that in 1740 an as- sociation for musical purposes was formed in the city, and also a dancing assembly, which was composed of [ men of large figure in the affairs of the time, nearly all of them being members of the Church of England.

In 1749, John Beals, music-master from London, " at his honse on Fourth Street near to Chestnut, ad- joining to Mr. Linton, collar-maker," taught the violin, hantboy, German flute, common flute, and dulcimer, by note. His lessons were given to young ladies who desired it at their own houses. And he notified the public he "likewise produces music for balls or other entertainments."

The first attempt at anything like the performance of a musical drama or opera was made by Hallam's company at the new theatre on Society Hill, South- wark, under the management of Hallam, in the an- tumn of 1759. Mrs. Love, a member of that company, Mrs. Harman, and her husband were the principal singers of the troupe. They bronght out the first musical feast, "Theodosius; or, the Force of Love," with all the vocal and instrumental music. "The Beggar's Opera," by Gay, followed,-Macheath, Mr. Harman ; Polly, Mrs. Love; Lucy, Mrs. Harman. In December there was " an interlude of concert music" performed by " some gentlemen of the city," who had provided a harpsichord for the occasion. This is the first recorded appearance of musical amateurs npon the stage. The performers must have been men of some position, because the object of the entertainment was "for purchasing an organ for the College Hall in this city, and instructing the college children. in psalmody." David Douglass succeeded Hallam as the manager of the new theatre (the second built) at Cedar [South] and Crab or Apollo Streets in the win- ter of 1766-67. This company had some fair singers. " The Beggar's Opera" was performed on the 28th of November; Miss Wainwright as Polly, Macheath Mr. Wools. Miss Cheer, a member of the company, who acted the principal light comedy characters, was also a good singer, and achieved some local reputa-

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tion. Douglass, in the season of 1769-70, introduced " Midas" man operatic burletta . Milton's masque of " Comus," and Shakespeare's "Tempest," altered by Dryden, all of which required the use of instrumental as well as vocal musie. In 1765 the concert separate from theatrical representation was introduced. "A concert of musical glasses" was given in that year. The performers at the theatre led off in the first of the vocal and instrumental concerts given, it is be- lieved, in the city ; Miss Wainwright, Miss Cheer, Miss Hallam, Mr. Wools, Mr. Wall, and others, assisted. In 1770, Signor Gnaldo, an Italian performer, it may be supposed, gave the first recorded concert by one of his nation "of vocal and instrumental music, solos and concertos, on various instruments,-the favorite mandolin not excepted." Gualdo afterward gave a concert and ball at the Freemasons' lodge in Lodge Alley. In order to quiet the consciences of the per- sons who would like to attend the concert but would violate their profession if they remained at the ball, Signor Gualdo had an admirable arrangement to seenre both sorts of enstom : " Admission ten shill- ings. If any lady or gentleman chooses to go away after the concert, the porter will return one half a crown."

At the outbreak of the Revolution Congress adopted puritanieal objections to amusements, and prohibited theatrical entertainments as well as other vain diver- sions. When Hallam, in 1780, desired to open the theatre for dramatic performances, he found great difficulty and objection. He was obliged to avoid the seandal of an open announcement that he would not perform plays, and resorted to the subterfuge of opening the South Street Theatre as a "temple of Apollo," for concerts of vocal and instrumental music. With them he mingled recitations and even perform- ances of plays, which were called "readings." In May he performed " A Monody in behalf of the Chiefs who nobly fell in the American Cause." Growing bolder, afterward he advertised " Lectures, being a mixed Entertainment of Representation and Harmony." In 1787, Hallam advertised " Spectaculum Vitæ; at the Opera-Honse, Southwark, for the relief of our fellow-citizens enslaved at Algiers; on Monday next will be performed a concert, vocal and instrumental." This musical entertainment consisted of the presenta- tion of " The Grateful Ward ; or, the Pupil in Love," and the musical entertainment of " The Poor Soldier," ending with " A Vaudeville." In 1789, the law still continuing, Hallam performed the operas of "The Duenna," "The Poor Soldier," the comic opera of " Lethe" beside ; and under the title of lectures such tragedies as " The Gamester" and " Hamlet," and the comedy of " The West Indian." The law prohibiting theatrical representations was repealed in 1789, and the Governor permitted to license theatres. When Wignell & Reinagle opened the new theatre in Chest- nut Street, above Fifth, on the 2d of February, 1793, the entertainments were a concert of voeal and in-

strumental musie. This company was strong in talent. Reinagle was a musician, and led the orchestra in an overture. Boulay performed on the violin, Saloman on the harp, and Gnenin on the piano. They were probably musicians attached to the orchestra. The songs were by Mrs. Morris and Mrs. Chambers, and Messrs. Mallet, Harper, and Chambers. The yellow fever of 1793 postponed the opening of the new theatre for dramatie performances for some months, the company having been driven to Annapolis, where they remained until late in the winter. On the open- ing night, Feb. 17, 1794, the first piece performed was Keefe's opera of the "Castle of Andalusia."> The musical character of this company had been looked to with care by Wignell and his partner. The founda- tion of the organization was the orchestra. The musi- cians were considered equal in general ability to the stage artists. There were twenty of them. Reinagle presided at times, and usually chose the piano for his instrument. George Gillingham, the leader, had been celebrated in London as a violinist.

In the dramatie company the most celebrated vo- ealist was Mrs. Oldmixon. She had been popular on the London stage as Miss George, and was a bur- letta vocalist, filling the line of singing chamber- maids and sprightly girls at the Haymarket and Drury Lane Theatres. She took the leading characters, especially in comie operas. She was the first to sing in Philadelphia the simple ballad (now so very old, but known to everybody), " The Blue Bells of Scot- land," in which she was encored night after night. Sir John Oldmixon, her husband, performed tolerably on the violin. Mr. Marshall, a vocalist of fine powers, was the principal tenor in opera. Mrs. Marshall, excellent in romps and country girls, was possessed of a melodions, powerful, and extensive soprano voice, which she used with skill and musical precision. Morton was an excellent performer of concertos and pieces on the piano-forte. Mr. and Mrs. Warrell, with capable voices, were good in minor parts and in choruses, which, by their taste and ability, they strengthened greatly. Miss Broadhurst was a singer of respectable talent, generally sustaining the second parts in opera. Darley was a tenor who had, Durang says, stood well beside Ineledon, and Darley, Jr., was also a fine tenor. Wignell and Reinagle relied, in considerable degree, upon the musical talents of their company. Several musical pieces of the English opera type, partly dialogue and partly songs and choruses, were brought out in the first season, among which, prononneed a great performance, was " Robin Hood ;" also " Comus," in which Mrs. Oldmixon, Mrs.

1 The cast shows that the managers had several performers whoes musical abilities were at least respectable The characters were as fol- lows Don Scipio, Finch : Don Casar, Datley ; Don F. rmando, Marshall ; Don Juan, Morris , Don AAlphonso, Morton ; Pedrillo, Bates ; Strado, Wig- uell; Singnino, Green , Philippo, Darley, Jr . Banditti, Harwood, Francis, Cleveland, Warrell, Blissett; l'ictoria, Mre. Warrell ; Lorenzo, Mrs. Mar- shall Fanbell, Mrs. Baton Catalina, Mis Broadhurst.

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MUSIC, MUSICIANS, AND MUSICAL SOCIETIES.

Marshall, Miss Broadhurst, with the two Darleys and the Warrells, sustained the principal parts. "The Spanish Barber," with Dr. Arnold's music and accom- paniments by Carr, was translated from the famous piece by Beaumarchais, upon which Rossini con- structed his opera of "The Barber of Seville." In the year 1793 there was an addition to the resident population of the city by the arrival of two profes- sional musicians who were not engaged in connection with the theatre company. One of these was Benja- min Carr, from the London Ancient Concerts, who established himself in a music-store at No. 118 Mar- ket Street. The other was Raynor Taylor, afterward frequently before the public in concerts and musical entertainments.1

positions were generally of a sacred cast.2 He pub- lished, in 1820, "The Chorister," a collection of chants and harmonies, selected, arranged, and com- posed by himself. He was the leader of the Musical Fund Society orchestra, and conductor of the first concert at Washington Hall, in 1821. He was the leader at the first representation in Philadelphia of selections from Handel's "Messiah" and Haydn's "Creation," which embraced the principal solos and choruses of those pieces. The performance was under the direction of Benjamin Carr, Raynor Taylor, and George C. Schetky. It took place in June, 1810, at the Roman Catholic Church of St. Angustine. The principal soprano was a young lady pupil of Mr. Carr and Mr. Schetky ; the principal tenor, Thomas Carr, of Baltimore; the principal bass, Shapter, of New York. Thirty-four ladies and gentlemen sang in principal parts and cho- rus. The orchestra was exceedingly strong, much beyond the general num- bers of the orchestras of the day. Mr. Gillingham was leader of the band. The organists were Ray- nor Taylor, Benjamin Carr, Thomas Carr, and T. Mein- ecke, of Baltimore. Mem- minger, of Baltimore, led the twenty-one violins. There were six violas, four clarionets, six flutes, five violoncellos, three bas- soons, three double basses, four trumpets and horns, and one kettle-drum. This performance was the most celebrated of the time and referred to frequently. The great number of the par- ticipants was unexampled in the previous history of

On the 5th of May, 1794, what might be denomi- nated the first professional and amateur concert took place at Oeller's Hotel, under direction of George Gillingham, leader at the theatre, Menel, and Ben- jamin Carr. Gillingham played a concerto on the violin, Carr sang one or two songs, but the great novelty of the evening was the performance by the or- chestra of the celebrated composition afterward, for a quarter of a century and more, pounded to death on pianos, "The Battle of Prague." This was per- formed for the first time in America, and adapted for the band by George C. Schetky, who was a capital musician and long known to the Philadelphia public. Kenna, a vocalist, with his wife and daughter, sang at the Harrowgate Garden in BENJAMIN CAKR. afternoon and summer-night entertainments during the city. It was excelled by what was called a grand

this year. Benjamin Carr had been educated in music under the celebrated composers, Dr. Samuel Arnold and John Wesley, a nephew of the famous Metho- dist preacher. He was a brother of Sir John Carr, an Englishman of some literary education. A fine musician, be was a successful composer. As an organist he was one of the best performers of which the city could boast, and his services in Roman Catholic and Protestant Episcopal Churches were always in demand. He was religionsly inclined, and when he performed in compositions of sacred music, he was exalted with emotion and feeling. His com-

oratorio, but really a selection from oratorios, pre- sented in 1820 for the benefit of the Widows' and Orphans' Asylum and the Bible Society. There were one hundred and thirty performers, of whom the larger proportion were instrumental.

The first performance of a full oratorio took place on the 9th of April, 1801, in the hall of the University of Pennsylvania, on Fourth Street below Arch. Dr. Shaw was the conductor, and he essayed the bold experiment of producing Handel's "Messiah." It

1 They were buried in St. Peter's churchyard, where the Musical Fund Society have erected suitable monuments to their memery.

2 Mr. Carr died May 21, 1831, aged sixty-two years. ITis companions of the Musical Fund paid this tribute to his vrituee on his tombstone :

" Charitable without ostentation, Faithful und true in his friendships. To the intelligence of a man he united the simplicity of a child."

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would have been impossible to obtain vocalists com- petent for this work from amateur ranks. Dr. Shaw went to the theatre. Ile engaged for the principal parts Mrs. Oldmixon and Miss Broadhurst, John Darley, Darley, Jr., and Taylor, with others, the theatrical company making up the chorus. Gilling- bam was the leader of the orchestra, and Taylor the organist. How successful this performance was in a pecuniary point of view is not told in the journals of the day.

For many years the theatre supplied the concert- room with singers, and with most of the orchestral performers as well. The ladies of the theatre fre- quently added to their income by a yearly concert performance. Mrs. Oldmixon probably first resorted to that expedient in 1800, after she had sung with Miss Broadhurst and Mr. Carr, in two concerts given by Miss Chateaudun, a juvenile wonder ten years old, who, " considering her age, had a wonderful pro- ficiency on the harp." Mrs. Oldmixon's concerts were regularly given for some years. Her fine musical education and good voice, and her experience in musical performances (she was the original Wowski in "Inkle and Yarico") rendered her popular. She had the advantage that she needed very little assistance from other performers. She could fill a programme berself. Wolfe played the clarionet for her in 1800. Soissons breathed for her on the flute in 1802. Gil- lingham was leader of the orchestra in 1808. In 1812 she was more liberally assisted than for many years. Mr. Smalley sang for and with her, Gilling- ham and Schetky played the violin, Pfeiffer the piano, the Carusi brothers on the French horns, and another Carusi and French on the clarionet. This occurred at Masonic Hall in February, 1814. On that occasion Mrs. Burke sang for her. Mrs. Oldmixon withdrew from the stage and opened a boarding-school at Germantown, which was quite successful. Mrs. Burke, of the theatre, afterward married Joseph Jef- ferson. She was an elegant singer, and was always an attraction at a concert. Mrs. French, a native of Philadelphia, was a popular vocalist, but not upon the stage. She gave her first concert in 1818, and was assisted by Taws on the piano-forte; Gillingham, violin ; Gillies, violoncello; Schetky, bass ; Blondan, flute ; and others. A writer in Poulson's Advertiser, who said that he had seen and heard Mrs. Billing- ton, Catalani, and Mrs. Mountain, then very famous in Europe, declared that Mrs. French was a better singer than either of them, and more scientife than C'atalani, who at that time was considered the best singer in Europe. Mrs. French gave concerts and sang in concerts with others until the end of the year 1821.

Miss De Brueys gave concerts in 1805 8, part of the time with Mr. De Brueys. They took place at the Assembly Room, Shakespeare Hotel, Chestnut Street, at Auriol's dancing school, and other places.

Mrs. Le Folle gave her first concert in the city at the old neademy, Fourth Street below Arch, in

December, 1808. She was the first wife of Le Folle, a leading musician connected with the Chestnut Street Theatre. This lady, who was no actress. should not be confounded with the second Mrs. Le Folle, who was a Mis- Wrighton, daughter of a famous netress on the English stage, afterward known as Mrs. Pownall. Miss Wrighton was the second wife of Alexander Placide, and mother of the Placides, Henry and Thomas, and of daughters one of whom afterward became Mrs. Mann, and an- other Mrs. William R. Blake. Mrs. Le Folle, the vocalist, was a fine singer, and popular. Perhaps the next Italian after Signor Gualda who gave a concert at which the principal food was airs from the Italian operas was Mr. Comoglio, whose entertainment was given at the City Hotel, Nov. 7, 1809. One of the best established and successful musical associa- tions which endured for some years was " the quartet party," originally consisting of Gillingham, J. C. Homman, Le Folle, and Schetky. They gave nine concerts in 1809, and were occasionally assisted by vocalists. Charles Hupfeld was admitted to the party, which became a quintet, although continu- ing under the old name, in 1810. The concerts con- tinued several years longer, and were in operation in 1818.

The first of the theatrical star performers wbo shone in opera was Incledun, the English vocalist, who appeared at the Chestnut Street Theatre in 1818. Hle gave a full round of the English operas popular at the day,-" Love in a Village," "Lock and Key," "Castle of Andalusia," "The Waterman," etc. Incle- don was equally effective in serious or sentimental songs. Mr. Henry Phillips, of the Lyceum Theatre, London, followed Incledon in the same year. He brought out for the first time the melodramatie opera of "The Devil's Bridge," "The Siege of Bel- grade," "The Duenna," and other pieces. He had no difficulty about filling the minor parts. MeFar- land, Barrett, Burke, Jefferson, and Abercrombie, of the theatre, were good singers. More pleasing and excellent were Mrs. Burke, Mrs. Le Folle, Mrs. Anderson, and Mrs. Bloxton. Mr Pearman, an English vocalist, came in the beginning of 1824, and introduced "The Devil's Bridge," "The Siege of Belgrade," "Fontainbleau," "The Barber of Se- ville," "Clari, the Maid of Milan," in which " Home, Sweet Home" was first sung, and others. Henry Phillips, in 1822, brought out in March, at the Walnut Street Theatre, Rossini's "Barber of Seville," his first appearance upon the American stage, trans- lated from the Italian libretto and rendered with the music of Rossini.

Charles F. Ilupfeld also gave concerts on his own account in 1812, and annually thereafter nearly up to the time of his death in January, 1819. On these occasions there were songs by Gillingham, Blissett, Stewart, Jefferson, Mrs. Green, and Mrs. Burke.

Francis Blondau, celebrated as a performer on the

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flute, gave a concert in 1814, and others up to 1823. At one of these Hupfeld presented an original com- position, a "concerto militaire." Mrs. Green, Mrs. Burke, and Mrs. Placide sang for him. Mrs. Green was a Miss Williams, and an original member of the Chestnut Street Theatre Company in 1794. She married William Green, a member of the same com- pany. He was manager of a Richmond theatre at the time of the great fire in 1811, and lost his only daughter by that calamity. Madame Knitel, from Paris, gave a concert at Masonic Hall in 1824. She was a performer upon the clarionet, an instrument not often played upon by a woman. She resided in the city for some years, and frequently appeared on musical occasions.

Arthur Keene, a young Irishman, " from the New York and Boston theatres," gave a concert in 1819. He was one of the company which supported Garcia, afterward Madame Malibran, at the Bowery Thea- tre, New York, in 1827. Miss Victoria Boudet, an American girl of French parentage, born at Savan- nalı, gave several concerts in 1820, singing in Italian and English. She was then not sixteen years old. It was said of her, a comparison perfectly under- standable at the time, that "her voice has the lowest tones of contralto, and the highest soprano tones of Mrs. French." Four years afterward this lady mar- ried a merchant of Norfolk, Va., and withdrew her attractions from the concert-room.

Willis, of West Point, leader of the military band there, celebrated as a performer on the Kent bugle, gave an example of his skill in 1820 at a few concerts, Mrs. De Luce taking the vocal parts.

One of the finest musicians that had come to the city was Anthony Philip Heinrich, known in the latter part of his life as " Father Heinrich." He was an enthusiast in music; he was a native of Schon- linde, in Austrian Bohemia. He had been a merchant and an extensive banker, and was believed to be a man of fine fortune. Music was his passion ; he neglected his business to amuse himself by visiting places where he could hear and enjoy the best performances. As a consequence his business went to ruin, and he, who had been a wealthy amateur, was compelled to take up the bow and seek a livelihood as a professional musician. He was in Philadelphia when the Euro- pean banking-houses of which he was proprietor failed in 1805, and after that he became a wanderer. He left and went West, where he remained in solitude for some time; then to London, where he received an engagement as principal violinist at Covent Garden and Drury Lane Theatres. Re- turning to Philadelphia in 1821, he sought relief from his poverty in concerts, and led a varied life. Hein- rich was known all over the country. He was the author of over one hundred works, oratorios, sympho- nies, overtures, concerted pieces and songs, many of which were distinguished for great originality, varied expression, and patriotic sentiment.

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History of Philadelphia, 1609-1884, Part 54

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author Publication date: 1884 Publisher: Philadelphia, Pa. : L. H. Everts & Co. Number of Pages: 992

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author
Publication date: 1884
Publisher: Philadelphia, Pa. : L. H. Everts & Co.
Number of Pages: 992