II
We may assume that musical culture made noticeable progress in New England in the second half of the eighteenth century. Among the mass of the people it remained somewhat primitive, but among the cultivated classes in Boston and the larger cities the best contemporary music was heard frequently and with appreciation. As we shall see in a later chapter, public concerts were held in Boston at least as early as 1731, and they seem to have compared favorably with similar functions in European cities. But of musical life in the intimate sense there was still comparatively little. Brissot de Warville writes from Boston in 1788: 'You no longer meet here that Presbyterian austerity which interdicted all pleasure, even that of walking, which forbade travelling on Sunday, which persecuted men whose opinions were different from their own. The Bostonians unite simplicity of morals with that French politeness and delicacy of manners which render virtue more amiable. They are hospitable to strangers and obliging to friends; they are tender husbands, fond and almost idolatrous parents, and kind masters. Music, which their teachers formerly proscribed as a diabolical art, begins to make part of their education. In some houses you hear the forte-piano. This art, it is true, is still in its infancy; but the young novices who exercise it are so gentle, so complaisant and so modest, that the proud perfection of art gives no pleasure equal to what they afford.'
There were at that time very few pianos in New England and we find from the newspaper advertisements that the teacher usually lent his own piano to his pupils for practice. We have it on the authority of Mr. Elson that the efforts of the pupils were customarily confined to Gyrowetz, or to 'Washington's March,' 'The Battle of Prague,' or the Sonata pour le Clavecin ou Forte-piano, qui représente la bataille de Rossbach. Composée par M. Bach—not the majestic Johann Sebastian, of course. Ritter has copied the following titles from a manuscript book of the late eighteenth century: Ça Ira, 'White Cockade,' 'Irish Howl,' 'French March,' 'Hessian Camp,' 'Duchess of Brunswick,' 'Duetto' by Mancinelli, 'Water Rice,' 'Nancy of the Mill,' 'O Bessy Bell,' 'German Spaw,' 'Ossian's Ghost,' 'Duke of York's March,' 'Duetto,' by Dr. Arne, 'Every Inch a Soldier,' 'Quick March of the Twenty-sixth Regiment,' 'March,' 'Poor Soldier,' 'Sound Alarm,' 'When Nichola first to court began,' 'Sweet Village of the Valley,' 'Minuetto,' 'Dead March in Saul,' 'Bright Phœbus,' 'Ode to Harmony,' 'Swedish Air,' 'Quick March,' 'King of Sweden's March,' Marche des Marseillais, 'Hessian Air,' 'Baron Steuben's March,' 'Prince Frederick's March,' 'Sonata from Minuetto in Samson,' 'March in Joseph,' 'Trio' by Humphrey.
It may be of interest to note some of the secular music published in New England at that time. We find the following advertisement in the 'Columbian Centinel' of Boston in 1798. 'Just published, price one dollar, neatly bound and lettered, sold by E. Larkin, No. 47, Cornhill, "The Columbian Songster and Free Mason's Pocket Companion." A Collection of the newest and most celebrated Sentimental, Convivial, Humorous, Satirical, Pastoral, Hunting, Sea and Masonic Songs, being the largest and best collection ever published in America. Selected by S. Larkin.' In the same year there appeared in Northampton, Mass., 'The American Miscellany.' From the foreword of the ingenuous editor we learn that in this work 'a general preference has been given to American productions, and perhaps nothing will more effectually exhibit the progress of the human mind in the refinements which characterize the age, than the songs which, from general consent, are now in vogue.' The exhibit is not very complimentary to the 'progress of the human mind.' Most of the songs contained in these collections are flatly commonplace, many of them are cheap and tawdry in the extreme. It would hardly be fair to look upon such publications as reflecting the musical taste of the cultured class in New England. Just what proportion that class bore to the total population we cannot say. We can safely assume, however, that the concerts given in Boston and elsewhere during the second half of the eighteenth century fairly indicate the taste of the musical elect in New England. The citation of a few programs in this place will, consequently, not prove amiss.
A concert in honor of President Washington's visit to Boston, given on the 27th October, 1789, is advertised as follows:
FOR PUBLIC ORNAMENT
An Oratorio
or Concert of Sacred Musick
will be performed at Stone Chapel, Boston, in presence
of the President of the United States.
First Part
1. A Congratulatory Ode to the President
2. A favourite Air in the 'Messiah' (composed by the celebrated Handel) 'Comfort ye my People.' By Mr. Rea
3. Organ Concerto By Mr. Shelby
4. The favourite Air in the Oratorio of Samson (composed by the celebrated Mr. Handel) By Mr. Rea
5. Anthem from 100th Psalm, composed by Mr. Selby
Part the Second
The Oratorio of Jonah
Complete. The Solos by Messrs. Rea, Fay, Brewer, and
Dr. Rogerson.
The Choruses by the Independent Musical Society; The Instrumental parts of a Society of Gentlemen, with the band of his Most Christian Majesty's Fleet.[14]
As the above Oratorio has been highly applauded by the best judges, and has never been performed in America; and as the first Performers of this country will be joined by the excellent band of his Most Christian Majesty's squadron, the Publick will have every reason to expect a more finished and delightful performance than ever was exhibited in the United States.'
In Salem on the 15th May, 1798, was given the following concert:
Part 1st
Grand Symphony Pleyel
Song: 'On by the Spur of Valour goaded.' Mr. Collins, Shield
Clarinet Quartette Vogel
Messrs. Granger, Laumont, von Hagen and Graupner
Song: 'He pipes so sweet.' Mrs. Graupner Hook
Concerto on the French Horn. Mr. Rosier Ponton
A favourite new Song: 'Little Sally's wooden ware' Arnold
Miss Solomon
Full Piece Hayden[?]
Part 2nd
Quartetto: 'Who shall deserve the glowing Praise?' Linly
Mrs. Graupner, Mr. Granger, Mr. Collins and Mr. Mallett
Concerto on the Clarinet, composed and performed by Mr. Schaffer
A new favourite echo Song: 'How do you do?' Hook
Mrs. Graupner, and accompanied on the hautboy by Mr. Graupner
Concerto on the Violin. Laumont Foder[?]
A Comic Irish song: 'Boston News' Mr. Collins
Concerto on the Hautboy, the composition of the celebrated Fisher Mr. Graupner
Duet: 'They Dance to the Fiddle and Tabor,' from the much admired Opera of the 'Lock and Key'
Mrs. Graupner and Mr. Collins
Finale Pleyel
Audiences in those days must have had Gargantuan musical appetites. Mr. Mallet, a French musician resident in Boston, gave a concert there on the 19th May, 1801, which included two overtures, four concertos (for clarinet, violin, bass and oboe, respectively), six solo vocal pieces and one duet!