History of Philadelphia, 1609-1884, Part 57

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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During the time that the Musical Fund Hall was in constant requisition for concerts and like pur- poses, some other societies for cultivation of the art of music were in operation. The Harmonia Sacred Music Society of Philadelphia was incorporated May 4, 1852. It probably grew out of the Philadelphia Sacred Music Society, which gave concerts during several years, and was generally under the leadership of Henry Knauff. The Philharmonic Society was established more for the purpose of insuring two or more musical concerts annually during the fall, winter, and spring seasons than for the performance of music by the members. The latter were generally ama- teurs, but the society manifested a disposition, for some years, toward the encouragement of native talent. Many American singers and instrumental performers made their debut at the Philharmonic concerts and afterward became famous. The Handel and Haydn Society was devoted, as the union of the names of the two great composers show, to the performance prin- cipally of their compositions. Many concerts were given by this society. Eventually it leased the upper portion of the large building at the northeast cor- ner of Eighth and Spring Garden Streets, extending to Green Street, built by Joseph Harrison, Jr., and which building, popularly known as Handel and Haydn Hall, was the place at which the members of the society practiced and gave concerts, which latter were varied at times by the engagement of much larger and more popular places, such as Musical Fund Hall, Concert Hall, and the Academy of Music.

The fondness for music which exists among the Germans began to show itself after 1830, when per- sons of that nativity were beginning to be sufficiently numerous to claim some right in directing their own amusements. Love of music led to the organization, Dec. 15, 1835, of the Mannerchor Music Society, the

1 In 1822 the following were the professional members of the society who performed at concerts. Some of them were amateurs engaged in other callings, who did not make a living by musical pursuits, but who were competent instrumental performers at concerts: Allyn Bacon, L. F. Burnhardt, George E. Blake, Miss H. Blaney, Samuel Cautour, Ben- janıin Carr, S. Carusi, J. Cheer, Jr., J. P. Cole, Benjamin Cross, George Catlin, Francis Cooper, John B. Dubree, Charles N. Danrnberg, Samuel Dyer, A. Farroullh, J. L. Frederick, John Furz, P. Gillies, Titan Grelaud, Mrs. Ann Gillies, Abraham Hart, John C. Hommann, John C. Hom- mann, Jr., Thomas Hupfeld, John Houniker, Wilfred Hall, C. Clem, Thomas Lond, Philip Lond, John Loud, George Miller, Henry Morse, - J'ilkinton, John Read, George Schetky. Thomas Sully, R. Taylor, Joseph C. Taws, John Wheeler, George Willig, William Whitesides. Directors of the Board of Music, Chairman, Benjamin Carr ; Secretary, George Schetky; Conductors of the Vocal Music, B. Carr, B. Cross, und T. Lond ; Curators, J. B. Dubree, Franklin l'eale, G. Smith, and I. P. Cole.

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HISTORY OF PHILADELPHIA.

first choral organization of male voiees entirely in the twenty, or thirty. Some were for instrumental per- United States. The founders were P. M. Wolsieffer, formance only. One of the best of those clubs was the " Amphion Musical Society," which for many years had its own rooms for practicing in Sansom Street, between Ninth and Tenth. Of glee clubs the number is beyond computation. An association of this kind may last two or three years, and sometimes exist to the venerable age of five years, but usually ceases before the latter extreme period is reached. E. Ludeking, C. Liebrich, J. C. Schuellerman, H. Rutz, J. Fabian, M. Beck, F. Shreiber, and C. F. Wesselhoeft. This association was carried on for over thirty-three years as a private society, during which time there were given innumerable concerts at the hall of the society in the Northern Liberties, at Musical Fund Hall, Academy of Music, and other places. The Mannerchor balls in fancy dress were " The Ceeilian Musical Society," composed of ladies and gentlemen, was organized about the year 1875, and called to its service as conductor of its concerts Michael H. Cross, a musician of merit and experience. This society practiced at Philadelphia Institute Hall, corner of Eighteenth and Chestnut Streets. Usually the grand concerts are given at the Academy of Music, frequently with choruses of five or six hundred singers, and with great perfection, according to the judgment of competent musical critics. In 1882 the Music Festival Association was organized, for the pur- pose of insuring musical entertainments of the first class. The first musical festival took place at the Academy of Music, May 9, 1883, and continued until May 12th. There were four evening and three after- noon concerts, fourteen principal solo singers, one hundred orchestra performers, and a chorus of five hundred voices. annual recurrences, and very popular. They took place at the museum building, Musical Fund Hall, Academy of Music, and other places. Frequently they were attended by two, three, and four thousand persons. The society was not incorporated until March 19, 1868. The corporators were William J. Horstmann, M. Richards Muckle, J. M. Richard, J. P. Steiner, Lorenz Herbert, J. Henry Camp, Freder- iek Steed, Richard T. Schmidt, Frederick Baltz, Peter Baltz, Jacob Kemper, A. Weihnmayer, and F. Seelhorst. The Mannerchor, ever since its organiza- tion, has been at the head of musical movements among the German population. Beside its own con- certs and balls, it has been prominent in celebration of fete days and holidays, and was always at the front in the great saengerfests, some of which brought dele- gations from all the musical societies in the United States to the regular concerts in some popular hall, Negro minstrelsy began to attract attention about 1837. There had been performers who sang negro songs in white faces from an early period. Some of these attained a certain degree of popularity. Graup- ner appeared in negro characters at the Federal Street Theatre, Boston, in 1799. He sang a song called "The Gay Negro Boy." About 1824-25, when there was considerable talk in the United States about the set- tlement of Hayti by the emigration of blacks to that island, there was a song quite popular in Philadelphia and Baltimore sung by a vocalist dressed as a negro,- winding up always with picnics and beer at Lemon Hill, Engel & Wolf's farm, or Scheutzen Park. The example of the Mannerchor was followed by the in- stitution of various other German societies, the names of which are too numerous to mention. Among these was Die Junger Mannerchor, which was a split from the original society, the Liedertafel, the Cecilien Verien, in which ladies and gentlemen were singers, and a large number of others. The Mannerchor, after moving about from place to place, became per- manently located at the northeast corner of Franklin " Bredern, let us leab Buckra land for Hayti. Dar we be receib, Grand as Lafayettee." Street and Fairmount Avenue, where it has remained for several years. The building here includes an audience-room, suitable for concerts and balls, and a large yard, which in summer-time is used for open- air evening concerts. The Young Mannerchor for some years occupied the old building erected as the session-room of the Second Presbyterian Church, on the south side of Cherry Street, west of Fifth. The Germania Musical Society was an orchestral organiza- tion composed of professional musicians, all of them of grent merit. The society commeneed a grand series of concerts at Musical Fund Hall, April 11, 1852. Alfred Jaell, the Viennese pianist, performed with them. This association was in operation for many years as a favorite orchestral combination, and the same name has been kept up until 1884.

Many musical Associations have blossomed and faded during the period of fifty years, the very names of which are now unknown. They were generally small, numbering from a simple quartet to fifteen,

William Kelly brought out the song of "Coal-Black Rose," as heretofore noted. George Washington Dixon took that song and made the most of it. Thomas D. Rice made his first appearance in a negro song at Ludlow's Theatre, in Louisville, and sang "Kitty Co-blink-a-ho-dink ! Oh! oh! Roley Boley- Good-morning, ladies all !" Shortly afterward Rice obtained or composed the song of " Jim Crow," which attained great popularity at the West. Rice made his first appearance at the Walnut Street Theatre in the summer of 1832, and was received with enthu- siasm by crowded houses. He afterward went to London, where he was the rage for a long time. After the success of Rice, Dixon-"Coal-Black Rose" having become stale-brought forward a new song, " Zip Coon," which he sang at the Arch Street The- atre on the 19th of June, 1834. By this time it began

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MUSIC, MUSICIANS, AND MUSICAL SOCIETIES.

to be seen that there was money in " the Ethiopian business." Small parties for singing negro songs and choruses were formed. One of the earliest of these was the Virginian Serenaders, the leader of which was the violinist, J. Richard Myers, commonly called "Ole Bull" Myers and "Dick" Myers. There were associated with him James Sanford, Edward Kelley, Edward Deaves, John Diamond, W. Horn, Tony Winnemore, and Master Proctor. They were singing at Temperance Hall, Northern Liberties, in 1847, at which time they were joined by Eph Horn, a native of Philadelphia, who had been an attaché as a " sub- ject" in Professor Rogers' lectures on mesmerism. In 1847, Horn joined the company, which shortly after- ward appeared at the Chestnut Street Theatre as the Virginia Sercnaders. Sanford became quite famons, as did Horn. There was an immense deal of genius in their performances.

On the 1st of August, 1853, Samuel S. Sanford opened the first Ethiopian permanent opera-house in the second story of a large building in Twelfth Street, below Chestnut. This place was burned on the 9th of December in the same year. In 1855, Sanford reopened the Sanford Opera-House, at Car- tee's Lyceum, in Eleventh Street above Chestnut. This building was erected as a house of worship for the First Presbyterian Reformed Church, of which Rev. Samuel B. Wylie was pastor. After some years the congregation removed to their new church, on Broad Street, and the Eleventh Street church was purchased for account of the Portuguese Synagogue Mikveh Israel. This congregation, however, never occupied it, having concluded to erect a synagogue on Seventh Street above Arch. The church building was then sold, and the purchasers altered it and fitted it up as a place of amusement. H. S. Cartee opened it as "The Lyceum" on the 4th of December, 1854. One of the features of Cartee's performances was a burlesque upon the performance of Jullien's Band. In Cartee's company were Wilkes, Dixey, Cotton, Paul, little Anna Kneass, La Petite Marie, and others. After the first season Cartee retired. Cotton & Dixey succeeded Cartee, and opened what they called the Eleventh Street Opera-House, March 19, 1855. Their season was short, not of more than two weeks' duration. Samuel S. Sanford, with his opera troupe, was performing at the Musical Fund Hall at that time. He became the lessee of the Eleventh Street Opera-House, and opened it as the New Amer- ican Opera-House, April 23, 1855. The company was composed of Sanford, Cool White, Kavanagh, Lynch, Rainer, Buruff, and Dixey. Sanford remained in management of this house for several years. He was succeeded by Carncross & Dixey, who also retained the house for several years. Finally Mr. Dixey re- tired, and Mr. Carncross remained sole manager, and is still at his post in 1884. After thirty years' per- formance of Ethiopian minstrelsy within those walls the house remains, with popularity and commanding

a good business. The reason for this has been that a cheap and agreeable entertainment has been furnished, always delightful and amusing, and kept by strict censorship over the performers free from vulgarity or cause of offense.

The name of Sanford is closely connected with the history of Ethiopian minstrelsy. As far back as 1830 we hear of negro melodies and dances by performers with blackencd faces, but never of character scenes or plays acted by a combination of performers. A Brooklyn (N. Y.) paper of May 4, 1875, published the following :

"Prior to 1842 individual performers, who were spacialty performars as a general thing, ware pomerone,-as they are now. The first band of minstrela was organized io 1842 at Mrs. Brock's boarding-house, in Catharine Street, New York City. It consisted of Dan Emmett, Frank Brower, Billy Whitlock, Dick Pelham, and G. G. Sanford. The members performed for the first time in public at the benefit of Pelham, given Feb 17, 1843, at the old Chatham Theatre, and afterward at the old Bowery Amphitheatre, From thence they went to the Park Theatre, where they performed for two weeks under the management of Measra. Rockwell and Stone. From the Park Theatre thay went to Boaton, and from there to Europe."

The veteran minstrel, Samnel S. Sanford, makes the organization date one year later. He says,-

" In the winter of 1843, at the Park Theatre, New York, on the occa- sion of Dick Pelham's benefit, a party of volunteer singers and dance men conceived the idea of all going on together, as each contended for the first appearance. The dispute was most aavere between Pelham, who was a dancer for Dan Emmett, and Whitlock, who was a dancer for Brower. Finally, to settla it, Pelham said, 'Let's all go on lo- gether.' They did so, and wera highly successful, and from that cir- cumstanca arose the idea of a troupe of performars. Each of them had his instrument. Frank Brower was Bones, Palham was Tambo, Whit- lock was Banjo, and Emmett, the author of ' Dixie,' waa Violin. In the spring of 1844 I traveled with Hugh Lindsey, and we gave the first minstrel performancea in the State of Pennsylvania. The company was composed of Dan Merrick, Dan Rice, Tom Young, and myself, at the closa of the season. I brought out John Diamond, Major Winn, and Dave Lull. We opened at Commissioners' Hall, Southwark. Tha commissioners made na vacate the room in a few days. We then opened at Temperance Hall, Northern Liberties, during the holiday aeason of 1844-45. I afterward left and joinad the 'Boston Serenadere,' which was the first company that sang at Masonic Hall. Afterward we played at the Assembly Rooms, Tenth and Chestnut Streets. On leaving tha city I took the management en route for New Orleans. Thenca wa went to England, and remained there until the fall of 1848. We ra- turned as the 'New Orleans Sereoaders,' and opened at Mnaical Fund Hall. During our absenca the ' Virginia Serenaders' came to the front, in 1846-47. They introduced Eph Horn, with Jim Sanford, Dick Myers, Kelly, Winnemore, Kavanagh, Solomon, and others. Bill Horn was agent. Speaking of Eph Horn, I may state that his first appear- ance as Bones was at Carlisle, Pa., the day after Governor Shunk's in- anguration, which was in December, 1844. Any one who dates the in- troduction of minstrelsy into this country pravions to these dates ia wrong. We had song-and-dance men, banjo-players, people as Lucy Longs, and auch like, long befora, but no minstrels."

This is very positive testimony. Minstrel perform- ances were given at different times at our various theatres, but Sanford's or Carneross & Dixey's Elev- enth Street Opera-House has long been their princi- pal headquarters. The Ethiopian minstrelsy of old times cannot be judged by the modern caricatures of negro humor. It was something original; the per- formers, many of them men of culture and talent, used their native wit and their experience of the stage in the delineation of the old " plantation

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HISTORY OF PHILADELPHIIA.

darkies" and " city nigger,"-studies from life, with just enough exaggeration thrown in to make them excessively funny. These unique exhibitions attracted attention by their novelty, and the real merit of the performers made them very popular. Some of those actors were fine singers, and more than once the touching pathos of some plaintive melody, sung by a rich voice, has moved the heart-chords of the spec- tator who had enjoyed a hearty laugh. The once famous Buckley family was composed of excellent singers and fine musicians. Our modern minstrels may be well gifted, but Ethiopian minstrelsy is an exhausted subject, which leaves room for repetition, not invention.

In 1870, Simmons & Slocum, who had long been favorite performers at the Eleventh Street Opera- House, seceded, formed a partnership, purchased property, and erected the Arch Street Opera-House, on the north side of Arch Street, west of Tenth. They opened Ang. 20, 1870, and were successful during the remaining seasons until the house was burned March 20, 1872. It was rebuilt and reopened August 26th of the same year.

Military bands were for many years mostly com- posed of drummers and fifers. The cavalry usually turned out with one and sometimes two or three trum- peters. In 1805 the Republican Greens, Capt. Wil- liam Duane, established a band of twenty musicians who wore the same uniform as the company. Capt. S. E. Fotteral, of the Independent Blues, in 1808, had a fine band. After the war of 1812 the third company of Washington Guards established a military band com- posed of colored men. The leader was Frank Johnson. This was substantially a reed band, with clarionets, flutes, one or two bassoons, a serpent, cymbals, tri- angle, bells, one or two French horns, and bugles, to give force and weight to the air, and a bass drum. There were a tenor drummer and a fifer who never played with the band, but filled up the intervals of the march while the other musicians were resting. After the third company was disbanded, Johnson's band was employed by other companes. It was for many years constant in attendance upon parades of the State Fencibles, Capt. James Page. This band was also supphed with stringed instruments, added in service for balls and dancing parties. Frank John- son was a fine musician, and reputed in his time to be one of the best performers on the bugle and French hormon the United States. He was a man of talent also and the Composer of many acceptable marches, lively quadrilke- and waltzes. After his death, A. J. R. Connor, a fine, tall, bandsome looking colored man, was the lever A colored Land, under the leadership of Howard from 1840 to 1850, was also in request generally For balls and parties. The Columbian Light Enfantly, Capt. Charles & Coxe, about 1820 estab- hashed a band the members of wloro were dressed in Turkish Costumes with white turbans, About 1833 the Phonde ploa Band, winch used brass instruments

altogether, was established principally among mem- bers of the Beck family. They became fashionable among the military, and took business in large degree from Frank Johnson's band. They were prominent on parades and festive occasions for many years. When the German Washington Guards, Capt. E. L. Kozeritz, was established, about 1837, it came out with a full band, composed of Germans, of twenty or thirty instruments. There was also introduced for the first time a drum corps of twelve or fifteen mem- bers, the style and mode of performance of which was entirely new in military displays. Some of the companies afterward established bands of their own. Bayley's Band, a fine organization, was employed by the State Fencibles. Breiter's Band performed in connection with the Gray companies. The com- pany and battalion of German Washington Guards had a band of their own, and several other companies and regiments were supplied with bands between 1850 and 1860.

CHAPTER XXXIV.

CLUBS AND CLUB LIFE.

ALTHOUGH known as the City of Homes, Philadel- phia may well be called the City of Clubs, as it prob- ably contains more social organizations of that char- acter than any other place in the United States, except New York. Below will be found sketches of all the prominent organizations of the Quaker City.

Social Clubs .- The oldest social organization in Philadelphia, and possibly in the world, is, as we have before stated, the Schuylkill Fishing Company, commonly known as the " State in Schuylkill," which was formed May 1, 1732. In that year a club, called the " Colony in Schuylkill," by way of jest, the members asserting that it was an independent colony of North America, was founded by Thomas Stretch, Enoch Flower, Charles Jones, Joseph Stiles, Isaac Snowden, John Howard, William Hopkins, and others. The first castle, or fish-house, was erected on the west bank of the Schuylkill, above where Girard Avenue bridge now stands. An association of Welshmen, known as the Society of Fort St. David's, was after- wards merged into the colony. On the 21st of July, 1825, Gen. Lafayette visited the castle and was duly elected a member of the State. On the 27th of April, 1844, the club was incorporated under the name of the Schuylkill Fishing Company. The present castle is at Rambo's Rock, near Gray's Ferry. The officers and citizens belonging to it are as follows: Robert Adams, ex-governor, elected Oct. 7, 1840; S. B. Thomas, ex-governor, elected March 28, 1845; A. E. Harvey, ex-counselor, elected Oct. 12, 1857; George Cuthbert, elected April 15, 1858 ; S. J. Christian, elected April 15, 1-58; John Wagner, gov-

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ernor, elected March 29, 1860; R. Rundle Smith, first counselor ; M. E. Rogers, second counselor ; Joseph T. Thomas, third counselor ; Edwin L. Reakirt, secre- tary of state; John Hockley, Jr., treasurer ; J. Somers Smith, sheriff; F. W. Fotterall, coroner; Charles S. Pancoast, A. Loudon Snowden, L. H. Warren, Dr. Thomas Wistar, James B. Young, Ellicott Fisher, W. Redwood Wright, Victor Guillou, Neilson Brown, E. W. Keene, H. Carleton Adams, L. Taylor Dickson. Honorary members, James C. Fisher, William Camac, Daniel Smith, Jr.

THE PHILADELPHIA CLUB, which occupies a mas- sive brick building at the corner of Thirteenth and Walnut Streets, was organized in 1833, by Henry Bohlen, James Markoe, Joseph P. Norris, Henry Beckett, Joseph R. Ingersoll, Commodore James Biddle, George M. Dallas, John M. Scott, and William and Henry Chancellor. These names rep- resented some of the oldest and most prominent families in the city. The club first had rooms in the Adelphi Building, on Fifth Street below Walnut, and afterward removed to Ninth Street ahove Spruce. The members then occupied a building on Walnut Street above Ninth, and in 1850 the present building was purchased. The club paid thirty thousand dollars for the building, and nearly that amount has since been spent in improving the property. The same year that the club moved into its new building it was in- corporated under the name of the Philadelphia Asso- ciation and Reading-Room. On the 25th of May, 1850, the name was changed to the Philadelphia Club.

Among the members are Frank S. Bond, James A. Bayard, Jr., Robert Adams, Jr., Joseph C. Auden- reid, Edwin N. Benson, Thomas A. Biddle, Andrew G. Curtio, Simon Cameron, A. J. Cassatt, Edwin H. Fitler, John G. Johnson, Henry M. Phillips, George DeB. Keim, George W. Childs, James L. Claghorn, George D. Krumbhaar, Pierre Lorillard, Henry Lewis, H. Pratt McKean, Wayne MacVeagh, James W. Paul, W. H. Pancoast, J. B. Lippincott, Richard Vaux, Frank Thomson, J. Lowber Welsh, Langhorn Wister, Samuel Ward, Walter McMichael, H. W. Biddle, Atherton Blight, Beauveau Borie, Henry P. Borie, Richard M. Cadwalader, G. Dawson Coleman, Brinton Coxe, Francis J. Crilly, Rudolph Ellis, Alfred T. Goshorn, E. B. Grubb, G. C. Heberton, Alfred Horner, Jr., E. C. Iungerich, Robert P. Kane, Charles Kuhn, Hartman Kuhn, P. Lardner, Bloom- field McIlvain, Clayton Newbold, Louis C. Norris, Richard Peters, Henry Preaut, William Henry Rawle, George M. Robeson, Fairman Rogers, J. G. Rosengarten, Thomas A. Scott, James P. Scott, Ed- ward Shippen, A. Loudon Snowden. Among the deceased members are Adolph E. Borie, Samuel B. Fales, Gen. George G. Meade, Dr. F. F. Maury, and Philip F. Wharton.

THE SOCIAL ART CLUB, which occupies a hand- some house on Walnut Street above Nineetenth, facing Rittenhouse Square, was organized in 1875

by Henry C. Gibson, Edward S. Clark, S. Weir Mitchell, M.D., Charles Platt, and Stephen A. Cald- well, and chartered the same year. The objects of the club are the promotion of literary, artistic, and antiquarian tastes among the members, the mainte- nance of a library and reading-room, and the collec- tion of works of art and antiquities. A large resi- dence on Chestnut Street, above Fifteenth, was first occupied and handsomely fitted up. In 1878 the club purchased the building 1811 Walnut Street for fifty thousand dollars, and replaced the brick front with a marble facing. The club-house is filled with paint- ings, engravings, curiosities, and antiquities of every description. Among some of the most prominent guests of the club have been Cyrus Field, Sir George Ferguson Bowen, G.C.M.G., Governor of Victoria; Sekizawa Akekio, Japanese Commissioner to the Centennial Exposition ; Sir Herbert Bruce Sanford, of England; Henry W. Longfellow, W. D. Howells, Theodore Thomas, John Fiske, Count Szecheniyi, of Hungary ; Count Hoyos and Count Andrassy, of Austria, and numerous others. Among the most prominent members of the club are Edwin N. Benson, George H. Boker, Samuel Baugh, Henry N. Bartol, Pierce Archer, James L. Claghorn, George W. Childs, Craig Biddle, Frank S. Bond, Franklin B. Gowen, George DeB. Keim, William Brockie, John Cadwalader, James E. Caldwell, A. J. Drexel, Ferdi- nand J. Dreer, Clayton French, Frank Furness, Horace Howard Furness, E. Burd Grubb, Clement A. Griscom, Dr. R. S. Huidekoper, Johu G. Johnson, Hartman Kuhn, Henry C. Lea, Dr. R. J. Levis, J. B. Lippincott, W. E. Littleton, Edwin M. Lewis, Wayne MacVeagh, Frederick T. Mason, Col. Henry Metcalfe, Henry A. Muhlenberg, G. Heide Norris, George M. Newhall, S. Davis Page, Joseph Patterson, James W. Paul, Henry M. Phillips, William Henry Rawle, Fair- man Rogers, Edward T. Steel, Frank Thomson, W. S. Vaux, R. J. C. Walker, Henry Wharton, Henry Winsor, William Struthers, and Howard Roberts.

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History of Philadelphia, 1609-1884, Part 57

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