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.