Although Alexander Reinagle was the greatest musician of this period there were others of importance as Juhan, Moller, Capron, Brown, Schetky, Wolff, etc., etc. It is not our intention to take up these men separately, as material is too scanty to warrant it. Sonneck has given short biographies of most of these men.[233] There are two men, however, Philip Phile and Philip Roth about whom we know considerable. They were both musicians of no mean calibre, appeared frequently in the concerts given in Philadelphia, and were also composers of music.
Philip Roth’s first public appearance, as far as is known, was in 1771 at the benefit concert of John M’Lean, when an overture composed by him “for the occasion” was performed.[234] This piece was, perhaps, the first of importance composed by a German in Philadelphia. The advertisement speaks of him as “Master of the Band, belonging to his Majesty’s Royal Regiment of North British Fusileers.” However, as will be shown later, he was undoubtedly a true German.
From 1771 to 1785 we lose sight of Roth, but then he appears as a music teacher in Philadelphia.[235] It is quite likely that he was here still earlier. He lived in Philadelphia from 1785 on until his death in 1804.
The importance of Philip Roth lies in the fact that it has been claimed by some, that he is the composer of “The President’s March” to which the song “Hail Columbia” was set. Others claim that Philip Phile was the author. The claims of Philip Roth, which at the most are meagre, rest upon an article in a newspaper of 1829, written by Wm. McKoy, twenty-five years after Roth was dead. This article, as will be shown, contains one error, and may contain others. The article in question reads thus:
“The seat of the Federal Government of the thirteen United States being removed to Philadelphia, and in honor of the new President Washington, then residing at No. 190 High Street, the March, ever since known as the President’s March, was composed by a German Teacher of Music, in this city, named Roth, or Roat, designated familiarly by those who knew him, as ‘Old Roat.’ He taught those of his pupils who preferred the flute, to give to that instrument the additional sound of the drone, while playing in imitation of the Scotch Bagpipe. His residence was at one time in that row of houses back from Fifth, above Race street, at that time known as ‘The Fourteen Chimnies’ some of which [1829] are still visible in the rear ground, north eastward of Mayer’s Church. In his person he was of the middle size and height. His face was truly German in expression; dark gray eyes, and bushy eye-brows, round pointed nose, prominent lips, and parted chin. He took snuff immoderately, having his ruffles and vest usually sprinkled with grains of rappee. He was considered an eccentric and a kind of drole. He was well known traditionally at the Sampson and Lion, in Crown Street, where it seems, his company, in the Olden Time was always a welcome addition to the Pewter Pint Customers, gathered there, at their Pipes and Beer, while listening to his facetious tales and anecdotes, without number, of High Life about Town, and of the Players: Nick Hammond, Miss Tuke, Hodgkinson, Mrs. Pownall, and Jack Martin of the Old Theatre in Southwark. This said President’s March, by Roat, the popular songs of Markoe,[236] the City Poet, in particular the one called ‘The Taylor done over,’ and the beautiful air of ‘Dans Votre Lit,’ ... were sung and whistled by everyone who felt freedom (of mind) to whistle and sing.
“Public opinion having ... released itself from a passion for French Revolutionary Musick and Song, experienced a vacuum in that particular, which was immediately supplied by the new, National American Song of ‘Hail Columbia happy Land,’ written in ’98, by Joseph Hopkinson, Esq.[237] of this city, and the measure adapted by him very judiciously, to the almost forgotten President’s March. Even since 1798, the song of Hail Columbia, by Joseph Hopkinson, and the President’s March, by Johannes Roat, being indiscriminately called for, have become, in a manner synonymous to the public ear and understanding, when they are actually and totally distinct in their origin, as above mentioned.
“Such was the popularity of the song, that very frequently has Mr. Gillingham, Leader of the Band, [Orchestra], been forced to come to a full stop in the foreign music, he had arranged for the evening by the deafening calls for this march, or song to the march.”[238]
In the first place, we wish to pick out a few errors, which will show why we must use this testimony with caution. The writer says that Roth was “well known traditionally,” evidentially not personally known to him. Again he says that the “President’s March” at the time “Hail Columbia” was written was “almost forgotten,” but on the contrary the actor, Gilbert Fox, urged Joseph Hopkinson to set words to that tune on account of its popularity. Thirdly, he says that the march was written by Johannes Roat. This is evidently an error in the Christian name due to traditions as we will try to show. We have gone carefully through the city directories from 1785 (when they were first printed,) to 1806; also the newspapers of that time, and wills and letters of administration but find no record of a “Johannes” Roat. We find a Philip Roth, and we shall strive now to give proof that they were one and the same, as so far there has been no adequate statement of this fact.
To recapitulate: Philip Roth, we have already discovered, was a Band Master in a British regiment in Philadelphia, and wrote an overture in 1771.[239] All trace of him is lost during the war, but he probably continued to fill his position in the British Army, or possibly the same position in the U. S. army.