This same year saw the beginnings of drama and opera in Philadelphia, given by the English actors, Murray and Kean.[117] These dramatic performances were soon discontinued on account of the opposition of the public. From now until the latter part of the sixth decade of the eighteenth century there were desultory attempts to give dramas, but not until 1759 did the theatre prove successful and become permanent.
There was then in this decade an incipient appreciation of drama to which some music was oftentimes joined. What other music was there at this time? In 1750-4 Mittelberger says:
“The cultivation of music is rather rare as yet.... Some Englishmen give occasional concerts in private houses with a spinet or harpsichord.”[118]
Mittelberger’s statement concerning the cultivation of music is not quite true. Music undoubtedly was studied a great deal more than Mittelberger seems to think. If his statement that occasional private concerts were given by Englishmen is true, this was probably the kind of concert William Black attended in 1749,[119] and may have been similar to the concerts of 1740.[120]
During the first half of the eighteenth century Philadelphia was not so utterly devoid of musical culture as some of our historians of music would have us believe. The music was not entirely church music, and although musical culture was not so important a factor in the life of the people as at the present day, still music was beginning to make itself felt among intelligent people, and interest in it and appreciation of it were gradually growing.
FOOTNOTES:
[76] Hart, American History told by Contemporaries II, p. 77, quoted from “The Voyage, Shipwreck and Miraculous Escape of Richard Castleman, Gent,” appended to “The Voyages and Adventures of Capt. Robert Boyle,” London, 1726, 4th Ed. 1786, p. 331.
[77] Scharf & Wescott, History of Phila., Vol. II, p. 863.
[78] American Weekly Mercury, March 5-14, 1727-8.
[79] Pa. Gazette, March 5-13, 1729-30.