Early German music in Philadelphia

by Robert Rutherford Drummond

CHAPTER VII.

Alexander Reinagle.

During the Revolutionary War it has been stated, that concert music was at a premium. However in the fall of 1783 was founded by John Bentley, the City Concert, “which was an important step in the musical life of Philadelphia.” These concerts were to be given every two weeks. As no programs have been preserved, we are unable to determine just what music was used. As Sonneck says: “It goes without saying that John Bentley engaged the best musicians to be had in the city and that he performed music in keeping with the refined taste of such men as Francis Hopkinson and Thomas Jefferson.”[187] These concerts were evidently kept up until the season of 1785-6.

In 1786 a musician arrived in Philadelphia, who was of great importance to the musical life of that time. This was Alexander Reinagle one of the ablest musicians in America in that century.

He was born in 1765 at Portsmouth, England, of Austrian parents.[188] He seems to have inherited, as did his brothers Joseph and Hugh, a love of music from his father, who was a skilful musician. Alexander studied music in Scotland with Raynor Taylor, who later became one of the leading musicians in Philadelphia. The material concerning Reinagle before his arrival in America is scanty, but the few data there are show that he was known to the musical world of that time. In a memorandum book[189] of his, preserved in the Library of Congress, is an account of a trip which he took to Lisbon 1784-5 in company with his brother Hugh, an eminent ’cellist,[190] who was sick with consumption. They arrived in Lisbon the twenty-third of October, and Reinagle tells of their lodgings there, expenses, etc. Of special interest is an item for January, 1785:

“Had a Concert in the Assembly Room 8th Jany.—Performed to the Queen and R. family Sunday 16th July. Rec’d. a present from her Majesty of 50 Moids.”

After burying his brother Hugh, who died the nineteenth of March, 1785, he “embarked from Lisbon Sat. 23d April sail’d 24th & arrived in Portsmouth Tuesday 17th May. Made in Lisbon:

By Concert	£100
By Queen	67
Two P. Fortes	30
Four Ditto (?)	35
Teaching	3	12
Fund (?)	31	10
	—	—
	267	2
Expences At Murrays	£7
Medicines		23
Diet from 15 Mar. to 23d April at Mrs. Morleys		51
In all Diet	£58
Medicines	23
	—
	81

From these statements it would appear that his trip financially was a decided success. It would seem from the large sums of money obtained from his performances at Lisbon, that he must have been well known as a prominent musician. There is further evidence of his standing in the musical world disclosed by O. G. Sonneck in an article in the “Quarterly Magazine of the International Music Society,” entitled “Zwei Briefe C. Ph. Em. Bachs an Alex. Reinagle.” They were evidently good friends, as Bach writes:

“Monsieur

Je Vous suis infinement obligé du Souvenir dont Vous m’honorez et je souhaite que Vous veuillez me le conserver toujours; et dans le cours de vos années les plus riantes. La nouvelle que Vous me donnez de la triste situation de Mr. Vôtre Frère m’a chagriné beaucoup; tant par rapport à Vous qu’à lui même. Le Ciel Vous comble de prospérités, une de plus chères c’est la santé même.

Je Vous envoye la musique, que Vous m’avez demandé, le prix est fixé au prix ordinaire, la musique que je Vous ai donné pour vous même, à Hamburg étoit fixée au prix de premuneration, en Vôtre faveur. Quand Vous m’écrivez une autre fois, ne manquez pas de me marquer Vôtre sort, auquel je m’interesse beaucoup. En même temps je Vous prie de me faire avoir vôtre portrait et celui de Mr. vôtre frère, seulement en dessin, pour les placer dans mon cabinet de portraits des musiciens. Cela me servira d’aide dans le souvenir de vôtre amitié, dans le retour de laquelle je suis et serai toujours.

Monsieur

Vôtre

très humble Serviteur.

Hamburg

ce 25 du mois de Février 1785. Ch. Ph. Em. Bach.”

The other letter is without date, but Sonneck conjectures that it was written the last of 1785 or the beginning of 1786. It runs as follows:

“Liebwehrtester Freund,

Ich bedaure von Herzen den Verlust Ihres lieben und braven Herrn Bruders eben so sehr, als ich mich über Ihre gute Aufnahme in Lissabon und glückliche Wiederkunft in London gefreut habe. Ihr Project wegen meiner gedruckten Rondos kann mir in der Folge viel Schaden thun, weil meine mit grossen Kosten von mir in starken Auflagen verlegten Samlungen, worin sie stehen, unverkauft liegen bleiben werden. Die Liebhaherey zu den Rondos ist hier eben so gross, wie in London, und ich habe sie deswegen mit eingemischt, um meinen Verkauf zu befördern. Ich weiss aus der Erfahrung, dass sehr viele meine Samlungen blos wegen der Rondos kaufen. Folglich sind mir Exemplare von Ihren verlegten Rondos nichts nutze, sondern ich wünschte lieber, dass sie gar nicht nach Deutschland kämen, ohngeacht Westphal hier und Hummel in Berlin ganze Quantitäten von Ihnen würden kommen lassen. Ich will jedoch Ihnen, da Sie etwas damit zu verdienen glauben, einen Weg vorschlagen, wodurch Sie zu Ihrem Endzwecke kommen könnten, ohne einen Nachdruck befürchten zu dürfen. In der zweiten, dritten, vierten und fünften Samlung stehen überhaupt Rondos. Von diesen Samlungen haben Sie 4, aber die 5, glaube ich haben Sie noch nicht, und kann sie Ihnen, weil 2 Rondos darin stehen, überschicken. Zu diesen 11 Rondos will Ihnen noch 4 neue Rondos componieren; Ich will zufrieden seyn, dass Sie mir Erlaubnis zu dem Drucke dieser schon gedruckten 11 Rondos öffentlich kundthun; und endlich müssen Sie auch bekannt machen, dass ich ausdrücklich für Sie noch neue Rondos dazu gemacht habe. Diese 15 Rondos können Sie in 4 oder wenigern Abtheilungen herausgeben. Es muss aber in jedem Theile etwas neues davon stehen. Dieses Mittel und meine öffentliche Erlaubnis sichert Sie gewiss vor einem Nachdruck.

Für meine Schadloshaltung und für meine neu dazu gekommenen Composition verlange ich nicht mehr und nicht weniger als 34 Guinees. Ich verspreche Ihnen zugleich, dass ich die 4 neuen Rondos niemanden geben noch viel weniger drucken lassen will. Ich kann Ihnen versichern dass 1 Theil von meinen Samlungen, worin nur 2 Rondos vorkommen, nach Abzug aller Kosten, mir wenigstens 1000 Mark hiesiges Geld bisher eingebracht haben, ohne einige 100 Exemplare zu rechnen, die ich noch vorräthig habe, und welche nach und nach auch verkauft werden. Die Auslieferung meiner 4 neuen Rondos auf einmahl geschiehet zugleich bey der Bezahlung auf einmahl. Wir sind sterbliche Menschen. Wegen der Fantasien künftig oder mündlich ein mehreres. Eine baldige genugthuende Antwort mit Ja! oder Nein! elbitte ich mir.

Mit vielen Grüssen verharre ich Ihr Freund und Diener.

Bach.

Hier in Deuschland hat mir noch niemand etwas nachgedruckt; ich würde auch so gleich in den Zeitungen einen solchen Nachdrucker öffentlich als einen Betrüger erklärt haben, Dafür hält man hier durchgehends einen solchen Menschen, und das will Keiner wagen. Meine öffentliche Erlaubnis zu Ihrem Drucke und die neuen eingemischten Rondos würden ganz gewiss einen Nachdruck zu Ihrem Schaden abhalten.”[191]

These letters merely show that Reinagle before coming to this country was a capable musician, was known as such by prominent musicians in Europe, and probably through his intimacy with Bach would have studied quite extensively the compositions of German musicians.

It was in the year 1786 that Reinagle arrived in New York with the intention of settling. He inserted the following advertisement in the New York Independent Journal:

“Mr. Reinagle, member of the Society of Musicians in London, gives lessons on the pianoforte, harpsichord and violin.”[192]

Evidently he did not prosper according to his expectations in New York, since the same year he established himself in Philadelphia. He at once became identified with the musical life of this city, and in conjunction with H. Capron, W. Brown and A. Juhan, Reinagle continued the “City Concerts” instituted in 1783.[193] The first programme played in that year will give some idea of the taste of the people of that epoch.

FIRST CONCERT, OCT. 19, 1786.

Act I.
Favorite Symphonie	Vanhall
Song, Mr. Capron	Gretrey
Sonata, Piano Forte	Haydn and Reinagle
Act II.
Concerto Flute	Windling
A Favorite Ronde.
Solo Violoncello	Tilliere
Act. III.
Concerto Violin	Cramer
New Symphony	Haydn[194]
Miscellaneous Concerto.

It will be seen by this programme that German music had its share of importance, and in later concerts the compositions of Mozart, Haydn, Händel, Bach, Pleyel, Abel, Stamitz, Schmittbauer, Heimberger, etc., were given. Undoubtedly the high grade of these concerts and the predominance of the works of German composers, was due to the musical taste of Reinagle.

It is not our intention here to give all the programs which were performed in Philadelphia during this period. Our intention is, however, to give new material which has hitherto not been published. The “City Concerts” Sonneck has traced through the year 1788, and then he adds that “apparently the City Concert was then discontinued as no further reference to it is made until the attempted revival in 1792.”[195]

Although no records have as yet been found, still it seems very probable that these concerts were continued without interruption through 1789-90. For the year 1791 there is a complete file of the programs given. The opening announcement is as follows:

“The first Concert will be held on Saturday the 22d instant, at the New-Rooms in Chestnut street, where they will be continued every other Saturday during the Season.”

PLAN OF THE FIRST CONCERT.

Act I.
1. Grand Overture of Haydn, Opera 51
2. Song, by a young Lady, composed by Dr. Boyce
3. Solo on the Clarinet,	Mr. Wolff
4. Quartet of	Pleyel
5. Concerto on the Grand Piano Forte	Miss Moller
Act II.
1. New Overture of	Haydn
2. Song, by a young Lady, composed by	A. Reinagle
3. Concerto Violin	Master Duport
4. Duett, Grand Piano Forte and Violoncello,	Mr. Moller and Amateur
5. Finale of	Dalisac[196]

SECOND CONCERT, FEB. 5.

Act I.
1. Overture	Pleyel
2. Song	Mr. Wolff
3. Concertante	Cambini
4. Sonato on the Grand Piano Forte	Miss Moller
5. Concerto Clarinet	Mr. Wolff
Act II.
1. Overture	Pleyel
2. Song	Mr. Wolff
3. Duetto Violin and Violoncello	Beval
By Mr. Duport and an Amateur
4. Trio on the Grand Piano Forte, by	Mr. Moller
5. Quartet Violin	Mr. Reinagle
6. Finale	[197]

THIRD CONCERT, FEB. 19.

Act I.
1. Grand Overture of	Haydn
2. Sonato Piano Forte	Miss Moller
3. Quartett Violin	Pleyel
4. Concerto Clarinet	Mr. Wolff
5. Solo Violin (in which are introduced some favorite Scotch airs)	Mr. Reinagle
Act II.
1. Overture	Stamitz
2. Concerto Violoncello, by an Amateur.
3. Sonato Piano Forte	Mr. Moller
4. A favorite Concerto of La Motte by Master Duport
5. Finale	[198]

FOURTH CONCERT, MAR. 5.

Act. I.
1. Grand Overture of	Haydn
2. Miscellaneous Quartet	Mr. Reinagle
3. Sonato, Grand Piano Forte	Mr. Moller
4. Quartetto, Clarinet	Mr. Wolff
5. Concerto, Grand Piano	Miss Moller
6. Quartet, Violin	Pleyel
7. Finale.
Act. II.
1. Overture of	Haydn
After the Concert Master Duport will perform a GrandDance.[199]

FIFTH CONCERT, MAR. 26.

Act I.
1. Grand Overture of	Haydn
2. Song.
3. Sonato, Piano Forte	Miss Moller
4. Quartette, Clarinet	Wolff
5. Overture
Act II.
1. Overture of	Gossec
2. Song.
3. Miscellaneous Quartett	Reinagle
4. Concerto Piano Forte	Moller
5. Finale.[200]

SIXTH CONCERT, APR. 16.

Act I.
1. Overture	Ditters
2. Sonata Grand Pianoforte	Miss Moller
3. Song	Mrs. Gee
4. Concerto, Clarinetto	Mr. Wolff
5. Overture	Abel
Act II.
1. Overture	Ld. Kelly
2. Song	Mrs. Gee
3. Quartett Violin	Mr. Reinagle
4. Concerto Grand Piano Forte	Mr. Moller
5. Finale of	Haydn[201]

LAST CONCERT OF THE SEASON, APR. 30.

Act I.
1. Overture	Abel
2. Sonata Piano Forte	Miss Moller
3. Song	Mrs. Gee
4. Concerto Clarinetto	Mr. Wolff
Act II.
1. Overture	Stamitz
2. Song	Mrs. Gee
3. Miscellaneous Quartett	Mr. Reinagle
4. Concerto Piano Forte	Miss Moller
5. Finale of	Haydn[202]

Besides the City Concerts, so-called Amateur Concerts were given at an early period and were still kept up in 1791, contrary to the belief of O. G. Sonneck. For instance there are advertisements and programs showing that the usual standard of concert music was performed.

“Amateurs’ Concert.

A concert will be performed at Mr. Henry Epple’s, at Seven o’clock this Evening.”[203]

Again we are notified that “this Evening the 3d instant there will be a Ball, only.”[204] It seems probable that these concerts were followed by a dance.

Also benefit concerts were still given as the following shows:

Benefit Concert for Master Duport, Mar. 19.

Act I.
1. Overture of		Abel
2. Concerto, Violin		Master Duport
3. Quartett Clarinet		Wolff
4. Sonato, Piano Forte		Reinagle
5. Overture		Haydn
Act II.
1. Overture		Vanhal
2. Trio of		Boccherini
3. Overture, “La Divan de Village” of		Rousseau[205]

Benefit Concert for Miss Moller, Apr. 2.

Act I.
1. Overture	Ditters
2. Song	Mrs. Gee
3. Sonato, Grand Piano Forte	Miss Moller
4. Concerto, Clarinetto	Mr. Wolff
5. Duetto, Violoncello and Grand Piano Forte, by an Amateur and Mr. Moller.
6. Finale	Haydn
Act II.
1. Grand Overture	Martini
2. Song	Mrs. Gee
3. Quartetto	Messrs. Reinagle, etc., etc.
4. Duetto, Grand Piano Forte	Miss Moller
5. Finale	Martini[206]

Concerts were given, too, at Vauxhall with programs equally as good as those of the City and Amateur Concerts, and an orchestra was undoubtedly present.[207]

“Vocal and Instrumental Concert at Vauxhall, May 18.

First Act.
1. A Grand Overture of	Haydn
2. Sinfonia	Stamitz
3. Solo Rondo Violin	Phile
4. Quartetto Violin	Davaux
5. Sinfonia	Vanhall
Second Act.
1. Sinfonia of	Abel
2. Song—Bright Phoebus.
3. Quartetto Violino	Kammell
4. Fisher’s Rondo, Clarinett by	Mr. Wolff
5. Sinfonia	Abel
After which Harmony, Music and Songs.”[208]

VAUXHALL CONCERT, MAY 27.

First Act.
1. Overture of	Lachmits
2. Sinfonia	Stamitz
3. Quartetto Violin	Davaux
4. Song, by	Mrs. Kenna
5. Sinfonia	Abel
Second Act.
1. Overture	Phile
2. Quartetto, Clarinetto	Wolff
3. A Duetto, Song by	Mr. and Mrs. Kenna
4. Quartetto	Schultz
5. Sinfonia	Kammel
Harmony Music and Songs by Mr. and Mrs. Kenna.[209]

VAUXHALL CONCERT, SEPT. 2.

1. Grand Overture of	Martini
2. Ditto	Haydn
3. Ditto	Selime and Azor
4. Concerto, Violin by	Mr. Phile
5. Solo Rondo, Clarinet, by	Mr. Wolff
6. Song, by	Mr. Wolff[210]

By comparing these programs it will be readily seen that the performers in the City Concerts also take part in the Amateur and Vauxhall Concerts, etc., so we may be sure that the concerts were all about on a par.

---

The City Concerts were continued the next season.[211] The following announcement was made concerning them:

“City Concert,
Of Vocal and Instrumental Music.

Under the direction of Messrs. Reinagle and Moller. The vocal parts by Mrs. Sewel and Mrs. Morris. The concert will commence on Saturday the 19th instant, at the Assembly Room, in Chestnut street.”[212]

FIRST CONCERT, NOV. 19.

Act I.
1. New Overture of		Mr. Moller
2. Hunting song		Mrs. Morris
3. Concerto, grand piano forte		Miss Moller
4. Quartetto, violin		Mr. Reinagle, etc.
5. Overture.
Act II.
1. Overture of		Pichl
2. Duett, violin and viola of		Stamitz
3. Song		Mrs. Morris
4. Sonato, piano forte and violin,		Moller and Reinagle[213]

SECOND CONCERT, DEC. 3.

Act I.
1. Overture of	Abel
2. Song	Mrs. Morris
3. Sonata, Pianoforte	Miss Moller
4. Miscellaneous Quartett	Mr. Reinagle, etc.
Act II.
1. Overture	Reinagle
2. Duetto, violin and viola.
3. Song	Mrs. Morris
4. Sonata, piano forte and violin	Moller and Reinagle
5. Finale of	Abel[214]

THIRD CONCERT, DEC. 17.

Act I.
1. Overture of	Stamitz, senr.
2. Duet,	Mrs. Morris and Mr. Reinagle
3. Sonata, Piano forte	Miss Moller
4. Quartett of	Pleyel
5. Overture	Abel
Act II.
1. Overture	Pichl
2. New Miscellaneous Quartett	Mr. Reinagle
3. Song	Mrs. Morris
4. Sonata, Piano Forte	Mr. Moller, of Pleyel
5. Finale	Abel[215]

FOURTH CONCERT, DEC. 31.

Act I.
1. Overture, 4th Opera, 10 of	Abel
2. Song	Mrs. Morris
3. Sonata, Piano Forte	Miss Moller
4. Quartett of	Pleyel
5. Periodical Overture	Bach
Act II.
1. Overture	Reinagle
2. Miscellaneous Quartett	Stamitz
3. Song	Mrs. Morris
4. Concerto, Piano Forte,	Mr. Mollen, of Schroeter
5. Finale	Abel[216]

FIFTH CONCERT, JAN 14, 1792

Act I.
1. Overture of	Moller
2. Song (from the New opera of the Woodman)	Mrs. Morris
3. Sonata, Piano Forte	Miss Moller
4. Concerto, French horn	Mons. Pellisier
5. Periodical Overture of	Abel
Act II.
1. Overture of	Holtzwara
2. The 1st Miscellaneous Quartett of	Vachon
3. Song (Damon’s all inconstancy)	Mrs. Morris
4. Concerto, Piano Forte	Mr. Moller
5. Finale	[217]

SIXTH CONCERT

Act I.
1. Overture 44th of	Vanhall
2. Hunting Song	Mrs. Morris
3. Sonata Piano Forte	Miss Moller
4. Miscellaneous Quartett	Mr. Reinagle
Act II.
1. Overture to Rosina	Shield
2. Song (from the Woodman)	Mrs. Morris
3. Concerto, Piano Forte	Mr. Moller
4. Quartett, French Horn	Mr. Pellisier
5. Overture of	Jomelli[218]

SEVENTH CONCERT, FEB. 11.

Act I.
1. Overture 1st of	M. A. Guenin
2. Song	Mrs. Morris
3. Sonata, Piano Forte	Miss Moller
4. Quartett of Pleyel	Mr. Reinagle, etc.
5. Overture 2d	M. A. Guenin
Act II.
1. Overture of	Stamitz
2. Duetto, Violin and Viola	Moller and Reinagle
3. Song	Mrs. Morris
4. Concerto, Piano Forte	Mr. Moller
5. Finale	Abel[219]

EIGHTH AND LAST CITY CONCERT OF THE SEASON HELD MAR. 10.

Act I.
1. Overture 6th, op. 10, of	Abel
2. Song	Mrs. Morris
3. Sonata, Piano Forte	Miss Moller
4. Quartett, Pleyel	Mr. Reinagle, etc.
5. Overture	Haydn
Act II.
1. Overture 57	Vanhall
2. Miscellaneous Quartett
3. Song	Mrs. Morris
4. Concerto Piano Forte	Mr. Moller
5. Finale	Crispi[220]

Finally a “City Concert Benefit” was given for Miss Moller.

Act I.
1. Overture, by	Pichl
2. Song, The Traveller benighted,	Miss Moller
3. Quartette, French Horn	Mr. Pellisier
4. Grand Ariette, Sorti, with accompaniment by a Guitar, composed by	Mr. Cassaignard, Amateur
5. Concerto Violin	Mr. Phile
Act II.
1. Overture by	Abel
2. Ariette Du Marquis de Floriant, by	Mr. Cassaignard, Amateur
3. Concerto Piano Forte	Miss Moller
4. Duetto, Violin and Tenor	Messrs Reinagle and Moller
5. Finale	Vanhall[221]

Foot-Note; At a concert given at Vauxhall in 1792 the instrumental parts were taken by a number of Germans: Messrs. Phile, Schulz, Tremner, [Scotchman Bremner,] Roth, Christhilf, Spangenberg etc., (Cf. Am. Daily Adv. June 8, 1792).

Cf. Durang, History of the Stage in Phila., Chapter 12, who gives the name Trimmer.

A glance at these programs or at the City Concert programs published by Sonneck[222] should convince anyone that the musical taste of Philadelphia was good, also that the German composers were favorites—at least with the managers—and a predilection was shown for Abel, Stamitz, Pleyel, and Haydn.

Reinagle was not only interested in the artistic production of music, but also, according to one writer, in the industrial development. He is said to have had a share in the piano manufactory established by Charles Tawes.[223]

Concerning the residence of Reinagle in Philadelphia, his contemporaries have something to say. At that time Wignell was an important factor in the theatrical world and in the fall of 1791 he “associated himself with Mr. Reinagle, a professor of music in Philadelphia, and a composer of some note at that time.”[224] They founded the first Chestnut Street Theatre, “the corner stone of which was laid by Mr. Reinagle, a Master Mason, in Masonic form.”[225]

The new theatre was opened to the public for the first time on Saturday evening, April 2d, 1793, “with a grand concert of vocal and instrumental music.”[226]

“The orchestra department was under the direction of Manager Reinagle, and the musicians were deemed equal in ability with the stage artists. In truth the orchestra contained about twenty accomplished musicians, many of them of great notoriety as concerto players on their respective instruments.

“The concentration of that early date of so much dramatic, operatic and instrumental talent, introduced a new era of theatricals here.

“Who that once saw old manager Reinagle in his official capacity, could ever forget his dignified personne. He presided at his piano forte, looking the very personification of the patriarch of music—investing the science of harmonious sounds, as well as the dramatic school, with a moral influence, reflecting and adorning its salutary uses with high respectability and polished manners. His appearance was of the reverent and impressive kind, which at once inspired the universal respect of the audience. Such was Reinagle’s imposing appearance, that it awed the disorderly of the galleries, or the fop of annoying propensities, and impertinent criticism of the box lobby into decorum.

“It was inspiring to behold the polished Reinagle saluting from his seat (before the grand square piano forte in the orchestra) the highest respectability of the city, as it entered the boxes to take seats. It was a scene before the curtain that suggested a picture of the master of private ceremonies receiving his invited guests at the fashionable drawing room.

“Mr. Reinagle was a gentleman and a musician. His compositions evinced decided cleverness and originality, and some of his accompaniments to the old opera music were much admired by good judges.”[227]

An article by William McKoy presents a clearer picture of Mr. Reinagle. He says:

“Mr. Reinagle, one of the Managers, and a Professor of Music, used to be seen, but only on particular occasions, seated at the Piano Forte, then standing against the stage, in the rear of the band [orchestra] for the mere purpose of touching a few notes solo, by way of accompaniment to the silvery tones of Mrs. Wignell. * * * Mr. Reinagle, while thus enjoying the effect of her inimitable chant, exhibited to the audience a head not unlike that of Louis the XIV but divested of the simplicity, bushy, powdered hair, large high forehead, and round full face, illuminated by silver mounted spectacle glasses, a perceptible smirk at all times about the mouth, and an extraordinary depth of dimple in his cheek, while sitting there and surveying the irritability of Mr. Gillingham, the Leader of the Band, on his being obliged to leave the music of Händel and Mozart, and strike off into the ‘President’s March.’”[228]

In Durang’s account, the compositions of Reinagle are spoken of highly; there is the testimony of another man, an actor in Reinagle’s company, to substantiate the above eulogy, as follows (1804):

“By the death of Wignell * * * the management devolved upon his widow and Reinagle. * * * The musical department fell of course to the charge of Reinagle, whose compositions and adaptations were deserved favorites with the public.”[229]

Again, there is the testimony of a man of our own times to show that the above praise was not undeserved. Speaking of some of Reinagle’s sonatas, O. G. Sonneck says:

“These sonatas follow closely in the footsteps of Ph. Em. Bach and the early Haydn without being void of individuality. If the larger works of Reinagle all were as fine and effective as these sonatas he must have been a composer of merit.”[230]

Sonneck has published titles of forty-two works ascribed to Reinagle,[231] to which we have added several others some of which are still in existence. These compositions include sonatas, overtures, preludes, songs, opera music, adaptations, accompaniments, etc.

From all this evidence it will appear that Alexander Reinagle must have been a great force in music in Philadelphia, and did much to shape the taste of the people for good music—especially for German music, and may thus be called the greatest German American musician of that century.

Concerning his home life, it is known that Reinagle was married and had two sons, Hugh, a scenic painter of some note, and Thomas. The later years of his life Reinagle spent in the management of a theatre in Baltimore, where he died September 21, 1809.[232]

Note: For a list of Reinagle’s compositions, Cf. Appendix.