“The torso of a book with the memorandum ‘Frances Hopkinson, 1755,’ attracts our attention. It is in manuscript, possibly of the owner. Most pieces have a figured base, and are Italian, French, English trios, songs, and duets, arranged for the harpsichord, amongst them for instance ‘A Song in the Triumph of Hibernia,’ an ‘Air in Atalanta’ by Händel, and a famous ‘Water Piece’ by the same author.”[160]
Another book of manuscript bearing the date, 1759, contains pieces by “Händel with ten pieces (Samson, evidently being Hopkinson’s favorite oratorio by the master), ‘Signor Palma,’ and ‘Signor Vinci’ both with four: Arne with two; Pepush (Alexis a Cantata!) Dr. Boyce, Pergolesi, and Purcell with one piece.”[161]
A third volume called “Lessons”, date not given, contains, among others, compositions by: “Händel ‘who (predominates,) Scarlatti, Abel, Stamitz, Vivaldi, Galuppi, Pugnani, Stanley, Smith, [Schmidt], Pasquali, Giardini, Corelli, Geminiani, Lord Kelly.’”[162]
From these manuscripts it will be seen that Hopkinson was familiar with many of the best composers of the world. He was evidently especially fond of Italian and English composers, but we may judge that he liked Händel’s music best of all. In the list directly above there are mentioned the following Germans: Händel, Abel, Stamitz, Schmidt; also the Englishman, Stanley, was a particular friend of Händel, and his music, as was all music of England at that time, must have been modeled after Händel’s; then there is Lord Kelley who studied music in Germany. We believe that the greater part of this music was brought to Hopkinson’s attention by the music-masters from London, and if that is so, it naturally follows that others of their pupils became acquainted with standard composers. We may be sure, too, that Händel, who was almost idolized in England during this century, had impressed these English American music-masters with his importance, and they would not keep to themselves their knowledge of him and his works. Händel, says one writer:
“For nearly a century ... stood to the English school as a model of everything that was good and great, to such an extent that very little of original value was accomplished in that country, and when, by lapse of time and a deeper self-consciousness on the part of English musicians, this influence had begun to wane, a new German composer came in the person of Felix Mendelssohn Bartholdy, who, in turn, became a popular idol, and for many years a barrier to original effort.”[163]
To turn again to Hopkinson we find that he not only had manuscript books of music, but also printed works such as:
“Six Sonatas for the Piano Forte or Harpsichord, Composed by Frederick Theodor Schumann, Opera 5th London.[162]
“Händel’s Songs selected from the Oratorios.”[162]
Then there were books by Italian composers, with which we are not concerned.[164]
From the evidence already presented, it will probably be granted that, the German concert music which was found in Philadelphia in the early 18th century, was brought in rather by the English musicians than by the Germans. We find the taste for music in London reflected by the various music teachers, and by the actors who came to Philadelphia from London during the sixth and seventh decades. This English influence lasted until the War of the Revolution during which there was a period of quiescence. After peace was restored, the English, Germans, and French—the latter exiles and victims of the French Revolution—all aided in the continuance of high class music.