CHAPTER VIII.
PHILIP ROTH AND PHILIP PHILE
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.
In 1785 there is the name Philip Roots in the city directory. In 1788 he has an advertisement in the newspaper,[240] while in 1789 we have the following:
“Mr. Roth, Music Master, In Pennington Alley running from Race to Vine Streets, between Fourth and Fifth Streets.
“Teaches all kinds of Instrumental Music in the shortest manner, viz. Harpsichord or Piano Forte, Guitar, Flute, Hautboy, Clarinet, Bassoon, French Horn, Harp and Thorough-Bass, which is the Ground of Music, etc.”[241]
In this advertisement we have Mr. Roth; not Philip nor Johannes. This would imply that the above-mentioned man was the only person in Philadelphia by the name of Roth who was a music teacher. There was no city directory after 1785 until 1791. In this year there appears this entry:
“Philip Roth, musician 25 Crown St.”[242]
Now turning to the advertisement again we read that Mr. Roth lived:
“In Pennington Alley running from Race to Vine Streets, between Fourth and Fifth streets.” But the city directory informs us that Crown St., and Pennington Alley were one and the same.[243] To go a step further, let us compare the article on the ‘President’s March,’ above quoted, as to the abode of Johannes Roat, which says:
“His residence was at _one_ time in that row of houses back from Fifth, above Race street, at that time known as ‘The Fourteen Chimneys’ ... north-eastward from Mayer’s Church.”[244]
Now comparing these three dwelling places, we find that they were on the same street--at least two of them--and the third in the same neighborhood; but we find that there was only one man, which our evidence gives, so we may be perfectly sure that the other two men may be fused into the one--Philip Roth. This man lived, while he was in Philadelphia in one locality as the directories show.
1791 Philip Roth, musician, 25 Crown St. 1795 Philip Roth, 31 Race St. 1798 Philip Roth, Crown St. 1797 Philip Roth musician, Crown St. 1798 Philip Roth, musician Crown St. 1799 Philip Roth, teacher of music, 33 Crown St. 1800 Philip Roth, teacher of music, 33 Crown St. 1801 Philip Roth, music master, 33 Crown St. 1802 Philip Roth, music master, 33 Crown St. 1803 Philip _Rote_, music master, 33 Crown St. 1804 Philip _Rote_, music master, 33 Crown St.
His name is also given in the directory of 1805, but nevertheless he died in 1804.
From the above, it is seen that he lived on the same street all the time he was in Philadelphia, with the exception of the year 1795 when he dwelt at 31 Race St., which however, was not far away. We see, too, the different appellations given to him, as “musician,” “teacher of music,” and finally “master of music,” Evidently he was skilled as a musician, and was respected as such.
Little else is known about Philip Roth, but we may presume that he played in the orchestra of the “Old Southwark Theatre”--perhaps was even the leader, since we know that he was well acquainted with the actors.[245] We do know that he composed a piece of music, or rather set to music a “Hunting Song,” which was printed in the “Universal Asylum,” April, 1790. He must indeed, have been a skilful musician to be able to give lessons on all the instruments in his advertisement--nine in all--although he could not have been proficient on all. Still he must have been talented.
The date of his death has been misstated by the only author, who has mentioned it at all. O. G. Sonneck, in his book “_Early Secular American Music_” (1905) page 190, and in an article “_Critical Notes on the Origin of Hail Columbia_” printed in the “_Sammelbände der Internationalen Musikgesellschaft_” (1901) states that Philip Roth died in 1805.
It is true that in the City Directory for 1805 his name is found while in the directory for 1806 the following entry appears:
“Rote, widow of Philip, music master, 94 N. 7th St.”[246]
To offset the above evidence there is the documentary proof as follows:
“On the 24th day of September, 1804, Letters of Administration were granted unto Mary Roth on the Estate of her Husband, Philip Roth deceased.
$200. Henry Lies of Philadelphia, Victualler. Jacob Grace of Nor. Liberties, Carter. Sureties.”[247]
Philip Roth could not have amassed much wealth during his musical career, since his surety was only $200.
So much for Philip Roth and his claims as author of the “President's March.” The other claimant is Philip Phile, about whom we know as little as about Philip Roth. As early as 1784 Phile was in Philadelphia; as there is a concert advertised for his benefit in that year.[248] Somewhat later than this Durang, a contemporary of Phile tells us that:
“The orchestra at the beginning of the “Old American Company” production was Mr. Philo, _leader_; Mr. Bentley, harpsichord; Mr. Woolf, principal clarinet, Trimmer, Hecker, and son, violoncello, violins, etc. Some six or seven other names, now not remembered, constituted the musical force. The _latter_ were _all_ Germans.”[249]
Mr. Phile was occupying a somewhat important position--the leadership of a _German_ orchestra numbering some twelve or thirteen men. From now on until his death in 1793,[250] Phile wandered back and forth between New York and Philadelphia. In 1784 he appears on the concert programs in the latter city. In 1786 with Alexander Reinagle he played a duet for violin and ’cello in New York,[251] while the next year he is back again in Philadelphia.[252] In 1792 he takes part in a concert together with Philip Roth and other Germans.[253] Perhaps Roth was a member of his orchestra. After 1789 he apparently settled down in Philadelphia, and lived on Race St., between Front and Second.[254]
Such is the knowledge we have concerning Phile’s life. Let us consider what are his claims to the authorship of the “President’s March.” As in the case of Roth, the march was claimed for Phile by his friends; but in his case there are two different accounts of its origin as follows: 1. First it was claimed for him by his son, who says he was present when it was played. He says that the march was composed by his father, and played at Trenton Bridge in 1789 in honor of Washington, who was on his way to New York to be inaugurated.[255] 2. Second, it is said by the nephew of Washington, G. W. Custis (1860), that this march was played in the John St. Theatre, N. Y., Nov. 24, 1789 in honor of Washington, who was present that evening. The composer is said to be a German named Feyles.[256] “Feyles” is a corruption of Phile and we also find it spelled Philo, Phylo, Phyla, Phyle, Phyles, Fyles, etc.
There are, then, two different statements as to the composition of this piece by Phile, which would lead us to think, that, in the minds of the people it was a doubtful question as to how and when this march was composed. To add to this, the claim that Philip Roth composed this march, only makes the situation more confused. Sonneck has pointed out in his article “_Critical Notes on the Origin of Hail Columbia_,”[257] that there was no account in the daily papers of that time concerning this march, as there probably would have been, had it been composed in honor of so important a man as Washington. He, however, inclines to the belief that Phile did write the march; but until a manuscript with the name of the composer thereon is discovered, we cannot say with surety who did write it.[258] We have, then, these two composers before us and can pay our money and take our choice.
Concerning the compositions of these two men we know little. The overture composed by Roth in 1771 has already been mentioned. Sonneck also gives a “Hunting Song” set to music by Mr. Roth in 1790. Sonneck credits Phile with the following compositions.
1787
1. Violin Concerto by Mr. Phile.
1790
2. Harmony Music, Phile.[259]
In addition to these we have:
1791
3. Overture by P. to be played at Vauxhall Concert, May 27.[260]
4. Concerto Violin by Mr. Phile. At Vauxhall Sept. 2.[261]
FOOTNOTES:
[233] Sonneck, _Early Secular American Music_, Index.
[234] See Above, p. 54.
[235] Cf. _City Directory of Philadelphia_, 1785.
[236] Peter Markoe (1768-1792) born at Santa Cruz, West Indies, educated in Eng., died at Phila.
[237] Son of Francis Hopkinson mentioned above as an important figure in Phila. musical development, Cf. Above, pp. ff.
[238] Poulson’s _Daily Advertiser_, Jan. 13, 1829.
[239] Cf. Above, p. 54.
[240] _Pa. Jour._, Sept. 10, 1788.
[241] _Pa. Jour._, Jan. 7, 1789.
[242] _City Directory_, 1791, p. 110.
[243] _City Directory_, 1795, p. 81.
[244] Cf. Above p. 77.
[245] Cf. Above, p. 89.
[246] _City Directory_, 1806.
[247] Cf. _Letters of Administration, Book K_, No. 156, p. 178 in office of Recorder of Wills, City Hall, Philadelphia.
[248] _Pa. Packet_, Mar. 6, 1784.
[249] Durang, _History of the Stage in Phila._, Chapter 12, [A rare book].
[250] Sonneck, _Early Secular American Music_, p. 189.
[251] _N. Y. Packet_, Jul. 13, 1786.
[252] _Pa. Packet_, Jan. 13, 1787.
[253] See Above, Note to 72.
[254] Sonneck, _Article_ in Sammelbände (1901), p. 156.
[255] _Baltimore Clipper_, 1841.
[256] G. W. Custis, _Recollections and Private Memoirs of Washing._ p. 368. Also _Diary of Geo. Wash._ 1789-1791, (ed. B. J. Lossing, 1860), p. 56.
[257] _Sammelbände der Internationalen Musikgesellschaft_, 1901.
[258] Many writers have expressed an opinion, but evidently their information consisted of a knowledge of only _one claim_.
[259] Cf. Sonneck, _Early Sec. Am. Music_ for these compositions.
[260] _Am. Daily Adv._, May 25, 1791.
[261] _Am. Daily Adv._, Sept. 2, 1791.
CONCLUSION.
We have tried to show the gradual growth of musical taste in Philadelphia, especially the taste for German music. As before mentioned this taste was undoubtedly stimulated mostly by the English musicians, at least until the last period. In that period the English, and German musicians, seem to have worked in conjunction to keep up the standard set by their predecessors. It must not be thought that German music alone ruled in Philadelphia. During the French Revolution, especially, many refugees arrived in Philadelphia and concerts of French music were given and great enthusiasm was aroused among the American citizens. However, on looking over the whole century, German music seems to predominate over the music of other nations in Philadelphia. Musical taste in Philadelphia after the Revolution will compare favorably with the taste shown in Europe at the same period.
APPENDIX.
WORKS OF ALEXANDER REINAGLE.
Unless otherwise noted this list has been taken from O. G. Sonneck’s “_Early Secular American Music_.” They are given here according to date of production.
1787.
1. Overture.
2. “A Select Collection of the most favorite Scots tunes. With variations for the pianoforte or harpsichord.”
3. A song (newly composed).
1788.
4. “_Federal March_, as performed in the grand procession in Philadelphia, the 4th of July, 1788. Composed and adapted for the pianoforte, violin, or German flute.”
1789.
5. Song.
“Adieu thou dreary pile.”
Arranged for pianoforte or harpsichord by Reinagle.
6. _Chorus_, sung before Gen. Washington, as he passed under the triumphal arch on Trenton Bridge, April 21, 1789. “Set to music and dedicated by permission to Mrs. Washington.”
7. _Song._ “In vain fond youth you would conceal.”
8. _Song._ “My soul is thine, sweet Nora.”
9. _Song._ “The Soldier tried, etc.”
10. _Song._ “Tantive back forward.”
11. _Song._ “Tis not the bloom on Damon’s cheek.”
(These songs were _arranged_ by R. for pianoforte or harpsichord.)
12. Overture. “La Schiava” (Piccini.)
13. Overture to opera “Maria” (Shield).
(These overtures arranged for pf. by R.)
1791.
14. Song. “Winter.” Set to music by R. with pf. acc.
15. Miscellaneous Quartet. Played at the “City Concert” Mar. 5, 1791 and often the remainder of the season.[262] This composition is dated by Sonneck 1793.
16. _New_ Miscellaneous Quartet. To be played at the “City Concert” Dec. 17, 1791.[263]
1794.
17. Song. “America, Commerce and Freedom.” By. R.
18. “La Chasse” (Rosetti). Arranged for pianoforte or Harpsichord by R.
19. “_Concerto_ On the Improved Pianoforte with Additional keys.”
20. “La Foret Noire (serious pantomime. _Overture_, etc., entirely new, composed by Mr. Reinagle.”)
21. Occasional Overture.
22. “_Preludes_ in three classes, for the improvement of practitioners on the pianoforte.”
23. “Robin Hood” (comic opera,) original overture by Baumgarten, additional airs by R.
24. “Slaves in Algiers” (play interspersed with songs), Music by R.
25. “Spanish Barber” (opera translated from Beaumarchais, by G. Colemann), additional airs by Reinagle and Carr.
1795.
26. “Harlequin shipwreck’d” (Pantomime). New music by R.
27. “Harlequins invasion” (Pantomime.) New medley overture by R.
28. “Volunteers” (comic opera). Music and overture entirely new.
29. “The Purse” (musical drama by J. J. Cross), accompaniments and new airs by R.
30. “Auld Robin Gray” (opera), new music and a Scottish medley overture by R.
1796.
31. “Mountaineers” (comic opera), accompaniments by R.
32. “Pierre de Province and La Belle Magulone” new music by R. This was also called “The Rival Knights” or La “Belle Magalone” a pantomime.[264] Probably this was the same thing as “Pierre de Province” although the latter was advertised as a “ballet.”
33. “Grand Divertisement in the Temple of Liberty taken from the celebrated Ballet, called, Warriors Welcome Home. The Overture and Music compiled by Mr. Reinagle in which is introduced a number of Irish and Scotch Airs.”[265]
34. “The Shamrock” (Irish dance), Irish medley Overture by R.[266]
35. “Witches of the rocks or Harlequin everywhere” (Pantomime), “with an entire new overture, songs, choruses, and recitations composed by Mr. Reinagle.”
1797.
36. “Columbus” (historical play), incidental music by R.
37. Savoyard (musical farce), music by R.
1798.
38. “‘The Gentle Shepherd’, written by Allan Ramsay. With original airs and the accompaniment by Mr. Reinagle.” This was called “the favorite comical Scot’s Pastoral” and was to be performed at the New Theatre.[267]
39. “Italian Monk” (opera), music and accompaniment by R.
1799.
40. Monody. “On the Death of the much lamented, the late Lieutenant-General of the Armies of the United States. The Music composed by R. Taylor, and Mr. Reinagle.” To be given at the New Theatre.[268]
41. “Blue Beard” (opera accompaniments by R.)
42. “The Arabs of the desert, or Harlequins flight from Egypt,” with a new Overture and Music, composed by Mr. Reinagle.[269]
Probably before 1800 (date not known).
43. “Collection of favorite songs, divided into books. The basses rendered easy and natural for the pianoforte or harpsichord by Alex. Reinagle.”
1800.
44. Masonic overture.
45. “Naval pillar” (musical entertainment), accompaniments by R.
46. “Pizarro,” by Kotzebue; adapted by R. B. Sheridan; music by Reinagle and Raynor Taylor.
FOOTNOTES:
[262] Cf. _Am. Daily Adv._, Mar. 4, 1791. Also programs given in this book for 1791.
[263] Cf. _Am. Daily Adv._, Dec. 15, 1791.
[264] Cf. _Am. Daily Adv._, Jun. 27, 1796.
[265] Cf. _Am. Daily Adv._, Mar. 28, 1796.
[266] Perhaps the same as advertised in _Am. Daily Adv._, May 7, 1794.
[267] _Am. Daily Adv._, Apr. 16, 1798.
[268] _Am. Daily Adv._, Dec. 23, 1799.
[269] Cf. _Am. Daily Adv._, Apr. 13, 1799.
AMERICANA GERMANICA
NEW SERIES
MONOGRAPHS DEVOTED TO THE COMPARATIVE STUDY OF THE
Literary, Linguistic and Other Cultural Relations of Germany and America
EDITOR
MARION DEXTER LEARNED
_University of Pennsylvania_
CONTRIBUTING EDITORS
H. C. G. BRANDT W. H. CARPENTER W. H. CARRUTH HERMANN COLLITZ STARR W. CUTTING DANIEL K. DODGE A. B. FAUST KUNO FRANCKE ADOLPH GERBER JULIUS GOEBEL J. T. HATFIELD W. T. HEWETT A. R. HOHLFELD HUGO K. SCHILLING H. SCHMIDT-WARTENBERG HERMANN SCHOENFELD CALVIN THOMAS H. S. WHITE HENRY WOOD
PHILADELPHIA AMERICANA GERMANICA PRESS
Berlin New York Leipzig MAYER & MÜLLER CARL A. STERN F. A. BROCKHAUS
London Paris KEGAN, PAUL, TRENCH, TRÜBNER & CO., Ltd. H. Le SOUDIER
* * * * *
Transcriber’s note
Minor punctuation errors have been changed without notice. Inconsistencies in hyphenation have been standardized.
The spelling of the surnames was standardized. The exception is Tannenberger/Tannenberg which was left as published because a footnote refers to the alternate spelling.
Page 58: Dashes were removed from the table for readability purposes.
Page 68: For the “VAUXHALL CONCERT, SEPT. 2” section. Duplicate #3 and #4 were removed.
The following printer errors have been changed.
Page Ads: “The Influencs of Salomon” “The Influence of Salomon” Page Ads: “Hymnology and the Souces” “Hymnology and the Sources” Page 7: “anfangs ein sternger” “anfangs ein strenger” Page 7: “Scylla Theologiae, aliquot” “Scylla Theologica, aliquot” Page 10: “of the Bohemian Bretheren” “of the Bohemian Brethren” Page 10: “Unparteysche Lieder” “Unparteiische Lieder” Page 10: “Neues und vesbessertes” “Neues und verbessertes” Page 13: “services, epecially” “services, especially” Page 13: “Christina, Dlaware, to” “Christiana, Delaware, to” Page 18: “on the Wissakickon” “on the Wissahickon” Page 41: “court of arms containing” “coat of arms containing” Page 42: “of musical merchandise” “of musical merchandize” Page 46: “was popular, and prabably” “was popular, and probably” Page 47: “and in 1763 recieved the” “and in 1763 received the” Page 47: “Provinicial Council of” “Provincial Council of” Page 49: “Pepush (Alex’s a Cantata!)” “Pepush (Alexis a Cantata!)” Page 52: “least a semi-worldy” “least a semi-worldly” Page 59: “ji suis et serai” “je suis et serai” Page 59: “trés humble Serviteur.” “très humble Serviteur.” Page 59: “mois de Fevrier” “mois de Février” Page 60: “öffenthich kundthun; und” “öffentlich kundthun; und” Page 60: “Sie noch nene Rondos” “Sie noch neue Rondos” Page 60: “niemand etwas nachgedcrukt” “niemand etwas nachgedruckt” Page 60: “einen solchen Nachdrucken” “einen solchen Nachdrucker” Page 60: “Eerlaubnis zu Ihrem” “Erlaubnis zu Ihrem” Page 64: “4. Quartete, Clarinet” “4. Quartette, Clarinet” Page 78: “evidentally not personally” “evidentially not personally” Page 80: “_Sammelbaende der “_Sammelbände der_” Internationalen Internationalen Musik-Gesellschaft” Musikgesellschaft” Page 80: “states that Philp Roth” “states that Philip Roth” Page 86: “24. “Spanish Barber”” “25. “Spanish Barber””
Footnote Corrections:
Italics for Footnotes 158-162, 164 were standardized.
32: “Sasche, _Justus Falckner_” “Sachse, _Justus Falckner_” 55: “_Hist._, XVI” “_Hist._, Vol. XVI” 76: “The Voyage, Shiprack and” “The Voyage, Shipwreck and” 78: “March 5-14, 172-7/8” “March 5-14, 1727-8” 80: “_Hist. of Phita._” “_Hist. of Phila._” 88: “_Haendel & Haydn_” “_Handel & Haydn_” 112: “_P. Gazette_, May 1” “_Pa. Gazette_, May 1” 115: “Mittelbergers Journey” “Mittelberger’s Journey” 224: “_History of Stage_” “_History of the Stage_” 229: “Personal _Recollections_” “_Personal Recollections_” 257: “Sammelbaender “Sammelbände der Internationalen Internationalen Musik Gesellschaft” Musikgesellschaft”