382 lines
19 KiB
TeX
382 lines
19 KiB
TeX
\section{The Armonica In America}
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During colonial times, the social lot of the native-born musician was extremely low. Following the model of the ancient Roman Republic, which many colonialists wished to adopt, musicians were routinely counted among the least desirable elements of society. In one tabulation of civic worth, the musician was listed just one notch above the three most useless professions of all: the actor, the sausage maker and the perfumer. It was a rare occurrence for a person to make his living entirely from music in America during the eighteenth century. Most were forced to double up on their talents and offer their services in the manner of one instrumentalist who sought employment in 1767 by advertising in the \Title{Virginia Gazette} that he ``shaves, dresses hair and plays on the French horn.''
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Franklin rather shared this view: music made an excellent amusement but wasn't really a proper profession.\TODO{???}
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Stephen Forrage gave a performance on Dec. 31, 1764 ``for the benefit of Mr. Forrage and others, assistant performers at the Subscription Concert'', including a performance on Franklin's ``famous Armonica, or Musical Glasses, so much admired for their great Sweetness and Delicacy of its tone.''\footnote{Quoted in \BrSonneckEarlyConcertLife{}, p.69}
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\subsection{Carter}
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Nevertheless, the landed gentry of Virginia, always well informed about the latest trends in Europe, showed an early interest in the \glassarmonica{}. Councillor Robert ``King'' Carter, probably the richest man in the colony and an avid musician, owned the only known glass armonica in Williamsburg. Carter ordered one of the new instruments in 1764 without ever having heard it. But he had heard about it from Bruton Parish Church's organist Peter Pelham:
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\begin{quote}
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Mr. Pelham of this Place is just returned from New York, he heard on that Journey Mr. B. Franklin of Phila: perform upon the Armonica: The Instrument pleased Pelham amazingly and by his advice I now apply to you, to send me an Armonica\ldots{}'' \TODO{Franklin played in N.Y.???}
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\end{quote}
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Carter's instrument was probably the one Pelham played at a concert at Williamsburg's Raleigh Tavern on Thursday, May 2, 1765, when George Washington was in the audience. Although Washington's ledger book makes careful note of the 3 shillings 9 pence he spent for the ticket, there is nothing to indicate his opinion of the music.
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The Carter children had a tutor, Philip Fithian, who was less reticent. It was Christmas 1773 when Fithian heard Mr. Carter play Water Parted from the Sea\footnote{Loesser, 438} upon it, and recorded his impressions in his diary:
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\begin{quote}
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Wednesday, December 22 (1773) \ldots{} Evening Mr. Carter spent in playing on the Harmonica; It is the first time I have heard the Instrument. The music is charming! The notes are clear and inexpressibly Soft, they swell, and are inexpressibly grand; \& either it is because the sounds are new, and therefore please me, or it is the most captivating Instrument I have Ever heard. The sounds very much resemble the human voice, and in my opinion they far exceed the swelling Organ. \footnote{\BrFithian{}, 37}
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\end{quote}
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Philip Vickers Fithian, a plantation tutor in Virginia during 1773 and 1774, mentioned many musical instruments in his journal. In the following reference, the Colonel was Charles Carter, master of the plantation and the father of several children who were being tutored by Fithian:
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\begin{quote}
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The Colonel told me last Evening that he proposes to make the vacant End of our School-Room \ldots a Concert-Room, to hold all his instruments of Music\EmDash{}As he proposes to bring up from \textit{Williamsburg} his \textit{Organ}, \& to remove the \textit{Harpsichord, Harmonica Forte-piano, Guittar, Violin, \& German-Flutes,} \& make it a place for Practice, as well as Entertainment.\footnote{\BrFithian{}, p. 51}
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\end{quote}
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Carter described the armonica as ``the musical glasses without water, framed into a complete instrument, capable of through [sic] bass and never out of tune.''\footnote{\BrFithian{}, 243}
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Other music lovers were similarly impressed. Thomas Jefferson was so enamored of the \glassarmonica{} that he made arrangements to buy one six octaves long. Unfortunately such a behemoth did not exist, three octaves being the maximum produced at that time by London musical instrument makers.[???] For some reason-perhaps the instrument's high cost-Jefferson never followed through on his purchase.
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\subsection{Nathanial Evans}
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Nathanial Evans (1742\EnDash{}1767), one of America's earliest poets, was the son of a Philadelphia merchant. He was apprenticed to a counting house, but finding that life disagreeable he returned after his apprenticeship to the College of Philadelphia where, in 1765, ``on account of his great merit and promising genius,'' he was awarded in an M.A. degree although he had never taken the B.A. degree. He then went to England and received ordination from the Bishop of London. In December of 1765 he returned to America and became an Anglican missionary in New Jersey. He died in 1767.
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In 1763, he had occasion to hear Franklin's armonica in Philadelphia, and wrote a poem in praise of Franklin in general and the armonica in particular. While Evans was in London, the Chronicle printed it in the late summer of 1765. It was printed again in a collection of his poems (and one sermon), published by his friend William Smith five years after his death.[For a thorough history of the poem, see PBF 10:422ff.)
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The last two stanzas of the poem concern the armonica:
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\index{Franklin!Poem about armonica}
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\begin{verse}
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To Benjamin Franklin, Esq., LLD.
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Occasioned by hearing him play on the Armonica. Written in Philadelphia, 1763.
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\ldots
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Aided by thee, Urania's heav'nly art, \\
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With finer raptures charms the feeling heart; \\
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Th'Armonica shall join the sacred choir, \\
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Fresh transports kindle, and new joys inspire. \\
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Hark! the soft warblings, rolling smooth and clear,\\
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Strike with celestial ravishment the ear,\\
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Conveying inward, as they sweetly roll,\\
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A tide of melting music to the soul;\\
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And sure, if aught of mortal moving strain\\
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Can touch with joy the high angelic train,\\
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'Tis such a pure transcendent sound divine\\
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As breathes this heart-enchanting frame of thine.\\
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Shall not the Muse her slender tribute pay?\\
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Her's is no venal, but the grateful lay;\\
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Apollo bids it, where such virtues shine,\\
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And pours a graceful sweetness thro' each line.\\
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Her country too, responsive to the sound,\\
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Swells the full note, and tells it all around.
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\end{verse}
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The first recorded public appearance of the armonica in the New World was in Philadelphia, December 27, 1764, advertised in Franklin's own Pennsylvania Gazette:
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\begin{quote}
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For the benefit of Mr. Forage, and other assistant performers at the subscription concert in this city, on Monday, the 31st. of this instant December, at the Assembly Room in Lodge Alley, will be performed A CONCERT OF MUSIC: consisting of a variety of the most celebrated pieces now in taste, in which also will be introduced the famous Armonica, or Musical Glasses, so much admired for the great sweetness and delicay of its tone. Tickets at 7s. 6d. each.\footnote{Quoted in \BrSonneckSuum, 68}
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\end{quote}
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\index{Washington, G.}
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In April 1765 Washington recorded in his diary, ``By my exps. To hear the harmonica 3.9: this was at Williamsburg.[??? See Paul Leicester Ford's monograph on 'Washington and the Theatre' (Dunlap, Sco. Publ. 1899, op.cit. \BrSonneckEarlyConcertLife{}, 57, n.3]'']
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\subsection{Other Musical Glasses/Armonica Player}
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%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
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% 1792
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In 1792 Jacobus Pick played a concert for his benefit in Boston:
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\footnote{Columbian Centinel, Nov. 21, 1792, quoted in \BrSonneckEarlyConcertLife{}, 290}
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\begin{Program}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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A Grand Symphony\dotfill composed by Haydn\\
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Song\dotfill by a lady\\
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A Sonata on the Piano Forte\dotfill by a young lady\\
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A Flute Concerto\dotfill by a Gentleman amateur\\
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A Song\dotfill by Mons. Pick\\
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A Grand Symphony\dotfill composed by Pleyel\\
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The Song of Bellisarius\dotfill by Mr. Powell\\
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A Grand Overture\\
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A Grand Symphony\dotfill by Fils\\
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Song by a lady\\
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A Hautboy Concerto\dotfill by Mr. Stone\\
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A Quintetto\dotfill composed by Pleyel, and performed by the Gentlemen amateurs of Boston\\
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Several pieces on the Harmonica\dotfill by Mons. Pick\\
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A Grand Overture.\par
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\endgroup
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\end{Program}
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%%%%%%%%%%%%%%
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% 1793
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In 1793 we have a concert in Boston by Jacobus Pick and William Selby consisting of:
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\footnote{Columbian Centinel, June 15, 1793, quoted in \BrSonneckEarlyConcertLife{}, 286}
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\begin{Program}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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Overture Henry 4th\\
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A French Song\dotfill by Mr. Mallet\\
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A Clarinet Concerto\dotfill by M. Foucard\\
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A French Song\dotfill by Madame Douvillier\\
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A Violin Concerto\dotfill by Mr. Boullay\\
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An Italian Duetto\dotfill by Messrs. Pick and Mallet\\
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A Flute Concerto\dotfill Messrs. Pick and Mallet\\
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La Chasse\dotfill composed by Hoffmeister\\
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A Piano Forte Sonata\dotfill by Mr. Selby\\
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A French Trio\dotfill by Madame Douvillier, Messrs. Pick and Mallet\\
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A Duetto on the Harmonica\dotfill by Messrs. Pick and Petit\\
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A Symphony\dotfill composed by Pichell\par
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\endgroup
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\end{Program}
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On Dec. 12, 1793 we have another concert in Boston:
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\footnote{Quoted in \BrSonneckEarlyConcertLife{}, 293}
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\begin{Program}
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\begin{center}
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1st Part
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\end{center}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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A grand Symphony\dotfill composed by Pichel\\
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A French Song by Mr. Mallet
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Hautboy [oboe] Concerto by Mr. Stone
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An Italian Song, by Mr. Pick (with an Hautboy accompaniment)\par
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\endgroup
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\begin{center}
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2nd Part
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\end{center}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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A grand Overture\\
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A French Song with the accompaniment of the Spanish guitar and violin, by two amateurs\\
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A Violin Concerto\dotfill by Mr. Boullay\\
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A Clarinet Concerto\dotfill by Mr. Granger, Boullay, Mallet and Pick\\
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The overture of Henry IVth\footnote{Martini}\\
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A French Duetto\dotfill by Mr. Pick and Mallet\\
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A Sonata on the Harmonica with several known airs\dotfill by Mr. Pick\\
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A Grand Smphony composed by Pleyel\par
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\endgroup
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\end{Program}
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%%%%%%%%%%%%%%
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In 1774 the \Title{South Carolina Gazette} announced a concert in which:
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\footnote{Oct. 24, 1774; quoted in \BrSonneckEarlyConcertLife{}, 23]}
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\begin{quote}
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The vocal parts [are sung by] Signora Castella, who will also perform several airs on the Harmonica or Musical Glasses.
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\end{quote}
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There is also an interesting notice in the \Title{Pensylvania Packet} for October 17th, 1774, inserted by H.B. Victor,
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\begin{quote}
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musician to her late Royal Highness the Princess of Wales, and Organist of St. Georges in London, mentioning ``'a new instrument,'' a cymbaline de amour, which resembles the musical glasses played by harpsichord keys, never subject to come out of tune. \footnote{quoted in full in R.R.Drummond's Early German Music in Philadelphia, NY, 1910, p.29 This 'cymbaline de amour' presumably has something to do with Francis Hopkinson's improvement.}
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\end{quote}
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Concerts of several hours duration were not uncommon in the day (prior to recordings, hearing
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music at all was limited to live performers, and was thus generally rare treat). At the same time, a 'Symphony' ('Sinfonie') might be listed on a concert, but only the first (of usually four) movements might be played.
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%%%%%%%%%%%%%%
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% 1794
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In 1794 a P.A. Van Hagen gave a concert in New York consisting of:
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\footnote{Daily Advertiser, March 21, 1794, quoted in \BrSonneckEarlyConcertLife{}, 237 }
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\begin{Program}
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\scriptsize
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\begin{center}
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Act I
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\end{center}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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Overture Henry 4th and Entre Act\dotfill Martini\\
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Song of Nina\dotfill Mr.S Melmoth\\
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Concerto on the Violin\dotfill Master Van Hagen\\
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Song 'Sweet lillies of the valley'\dotfill Mrs. Hodgkinson\\
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Sonata Grand Piano Forte\dotfill Mrs. Van Hagen\par
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\endgroup
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\begin{center}
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Act II
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\end{center}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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Overture of\dotfill Pleyel\\
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Song ``The Highland laddie''\dotfill Mrs. Melmoth\\
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Concerto on the Violin\dotfill Mr. Van Hagen\\
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Song 'Sympathetic Echo', accompanied by the Clarinet\dotfill Mr. Hodgkinson\\
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Concerto Grand Piano Forte\dotfill Mrs. Van Hagen\\
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Duett 'Cher object',\dotfill Miss and Master Van Hagen\\
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Concerto (by particular desire) on the Carillon, or Musical Glasses. Composed by\dotfill Mr. Van Hagen\\
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\index{Musical Glasses!Carillon}
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Finale by\dotfill Ditto
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\endgroup
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\end{Program}
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And in 1794 we have a concert in Boston:
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\footnote{\Title{Columbian Centinel}, August 23, 1794, quoted in \BrSonneckEarlyConcertLife{}, 297 }
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\begin{Program}
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\begin{center}
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1st Part
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\end{center}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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A grand Symphony\dotfill by Pepichell [Pichl]\\
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Song by\dotfill Mrs. Pick\\
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Flute quartetto by\dotfill An amateur etc.\\
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Overture to the Deserter\footnote{Dibdin or Monsigny}\\
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Song by\dotfill Mrs. Pick\\
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Chace [La Chasse] by Stamitz, the horn part by\dotfill Mr. Pick\par
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\endgroup
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\begin{center}
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1st Part
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\end{center}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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Overture of Blase Babet\footnote{Dez\`{e}de}\\
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Italian Duetto, by\dotfill Messrs. Pickand Mallet\\
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A Violin Concerto by\dotfill Mr. Boullay\\
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Song by\dotfill Mrs. Pick\\
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Overture\\
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Duetto by\dotfill Mr. and Mrs. Pick\\
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Several airs on the Harmonica by\dotfill Mr. Pick\\
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The Battle of Ivri\footnote{Martini}\par
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\endgroup
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\end{Program}
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%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
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% 1795
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In 1795 a concert was played at Petersburg, Virginia:
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\footnote{\Title{Virginia Gazette} and \Title{Petersburg Intelligencer}, June 25, 1795. Quoted in \BrSonneckEarlyConcertLife{}, 59}
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\begin{Program}
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\begin{center}
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Part 1.
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\end{center}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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A Grand Sonata of Pleyel's on the Piano Forte, accompanied on the violin\dotfill By Mrs. Sully and Mr. Pick.\\
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A Favourite Song 'Whither my Love'\dotfill By Mrs. Pick.\\
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A Favourite Scotch Reel, with variations\dotfill By Mrs. Sully.\\
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The Favourite Duett of 'the Way worn traveller'\dotfill By Mr. and Mrs. Pick.\\
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A Grand Sonata of Steibelt's, to conclude with the favorite Air of 'The Rose Tree' with variations\dotfill By Mrs. Sully.\\
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The Marseilles Hymn, in English\dotfill By Mrs. Pick.\par
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\endgroup
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\begin{center}
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Part 2.
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\end{center}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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A Grand Sonata of Clementi's on the Piano Forte, accompanied on the violin\dotfill By Mrs. Sully and Mr. Pick.\\
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A French Song\dotfill By Mr. Pick.\\
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The Favourite Air of Lira Lira, with variations, from the \Title{Surrender of Calais}\footnote{by Arnold}\dotfill By Mrs. Sully.\\
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An Italian Duet, sung by MRs. Sully and Mr. Pick\\
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The Favourite Air of Moggy Lauder, with variations on the Piano Forte\dotfill By Mrs. Sully.\\
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The Hunting Song of Tally Ho!\dotfill By Mr. Pick.\\
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Sonata on the Italian Harmonica, with several known airs.
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\endgroup
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To begin precisely at 7 o'clock. Tickets at 6 s. each\ldots
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\end{Program}
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In 1795 a concert was played at Charleston:
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\footnote{Advertised in the City Gazette, March 26, 1795, quoted in \BrSonneckEarlyConcertLife{}, 30}
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\begin{Program}
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\begin{center}
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Act 1st.
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\end{center}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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Overture, composed by\dotfill Girovetz\\
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Song, by Mrs. Pick\\
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Quartetto\dotfill Pleyel\\
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Concerto on the Clarinet, composed and performed by\dotfill Mr. Dubois\\
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Song, by Mr. J. West\\
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Rondo\dotfill Pleyel\par
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\endgroup
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\begin{center}
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Act 2st.
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\end{center}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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Sinfonie\dotfill Haydn\\
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Song, by Mrs. Pick\\
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Concerto on the Violin, by Master Duport\dotfill La Motte\\
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Song, by Mr. J. West\\
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Sonate on the Pianoforte, by Mr. Eckhard\dotfill Dussek\\
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Duetto, by Mr. and Mrs. Pick\\
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Pot Pourris on the Harmonica, by Mrs. Pick\\
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Sinfonie\dotfill Pleyel\par
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\endgroup
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\end{Program}
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\index{Dussek}
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\index{Haydn}
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%%%%%%%%%%%%%%
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% Moller
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A John C. Moller became rather a specialist on the armonica, which by 1795 was becoming ``old news''. Nevertheless he seized the opportunity to ``introduce that instrument \ldots of which the late Dr. Franklin was the inventor''\footnote{\Title{Philadelphia Gazette}, April 3 and May 1, 1795, quoted in \BrSonneckEarlyConcertLife{}, 142}, and, said Moller:
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\begin{quote}
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This instrument since so much improved in Europe by the first artists is, in point of tone and sweet harmony, second to none and in performance of modulation from which it derives its name, not excelled by any other.
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\end{quote}
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The audience could judge for themselves from the program he presented:
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\footnote{Quoted in \BrSonneckEarlyConcertLife{}, 143}
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\begin{Program}
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\begin{center}
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Act I
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\end{center}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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Overture\dotfill Haydn\\
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Song, arranged for the Harmonica by\dotfill Moller\\
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Quintetto\dotfill Pleyel\\
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Concerto Violin\dotfill Gillingham\\
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Full Piece\dotfill Pleyel\par
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\endgroup
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\begin{center}
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Act II
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\end{center}
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\begingroup % keep all changes local
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\parindent=0pt % no indents
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\parfillskip=0pt % full lines
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Overture\dotfill Haydn\\
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Overture\dotfill Pleyel\\
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Quartetto, Harmonica, 2 tenors and violoncello by\dotfill Moller\\
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Concerto Violoncello\dotfill Manell(Menel)\\
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Fantasia Pianoforte\dotfill Moller\\
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Finale\dotfill Haydn\par
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\endgroup
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\end{Program}
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