Music Library Reading Room Notes

Issue no.3 (2000-2001)

University Libraries The University of the Arts

Compiled by the Library Staff Mark Germer: Music Librarian Lars Halle & Aaron Meicht: Circulation Supervisors

In Conversation with Donald Chittum p.2

A Chronology of Music in to 1900 p.11

The University of the Arts . 320 South Broad Street, Philadelphia, PA, 19102 http://www.uarts.edu University Libraries: http://library.uarts.edu In Conversation with Donald Chittum

by Music Library Staff

Professor of Music Donald Chittum, a long- name was Herbert Cuff and he taught me time faculty member and former director theory while I was still taking drum and of the School of Music, sat down with the percussion lessons. When I was in high UArts Music Library staff to record for us school, there were a couple of students his perspective on the School in its various from Atlantic City who were enrolled in incarnations. The following excerpts from the [Philadelphia] Conservatory, and who this conversation have been condensed were having trouble with their harmony and edited for continuity, though we have assignments, and asked me to help them. tried to retain the informal tone. Those who And they said, “Well, why don’t you go would like to hear the complete interview and check out the school? You look like may do so in the Music Library. We began you might do very well there.” I did, and by asking Professor Chittum how he first that started my career. I guess I’ve now came to the Philadelphia Conservatory. been connected with the school in one way or another for 52 years!

The Philadelphia Conservatory of Music was patterned on the European type of I stayed on with the school through two conservatory. In other words, it was not a years at the collegiate level and then comprehensive type of university-oriented “made myself available” for military ser- school that was post-secondary, neces- vice. I went into the Army for nearly two sarily, and that gave degrees. There were years. I [joined] in October of 1950 and all kinds of instruction going on in the con- came out in the early summer of 1952. servatory for musicians as early as four, It was a wonderful experience. I was a five, six years old, all the way up through band-training, non-commissioned officer. degree-bearing [i.e., granting] programs. I I was a conductor. It was wonderful for say that as a prelude to mentioning that me because I learned how to teach, really I started at the conservatory when I was to teach, in the Army. I learned that, first in high school [in Atlantic City]. And I was of all you have to make things very clear accepted in the degree program--this was to people. And also you have to not ask in 1948, my senior year in high school. So, anybody to do anything you wouldn’t do that was a wonderful time for me, and in yourself. They are just a few simple rules 1948 I was taking music theory, eartrain- but they are very, very important. ing, orchestration, counterpoint, and mu- sic history--all of these kinds of things that were very important--, --when I In the 1950s the Conservatory boasted an was still in high school. I had started study- internationally acclaimed faculty. Profes- ing theory and harmony when I was about sor Chittum recalled some of the impor- 12 or 13, privately with some members of tant figures teaching there at that time. rather prestigious . I remember one especially, who was a principal clari- netist at the Pittsburgh Symphony. His I took a year off and came back in the Fall 1955. But, because of the way my pro- of ‘53. [So I came back to] the Philadel- gram was arranged--there was a two-year phia Conservatory of Music. And [the com- master’s[-degree] program--I started the poser Vincent] Persichetti was there, the master’s program concurrently with the -conductor Boris Koutzen was bachelor’s. A very important teacher for there, and [the composer and pianist Ed- me was Katherine Grube. [The director at ward] Steuermann was there; [the pianist this time was] Maria Ezerman-Drake. And Olga] Samaroff-Stokowski--was no longer her son was Hendrik Drake. He ultimately there when I got back, but [had been] there became the director of the school when it when I left. [Also the famous pianist] Wil- merged with the Academy. But Katherine liam Kappel was at the school slightly be- Grube was phenomenal. As a matter of fore I started as a student, or had finished fact, when I was in the master’s program working with Olga Samaroff-Stokowski. I I was her graduate assistant. And that’s didn’t know him personally. Evelyn Christ- how I got the job here. She developed man-Quick was the music history teacher. an incurable cancer, and so she talked to There was a string teacher named [William] Mrs. Drake and said “Look, it doesn’t make Bless. Abe Pepinsky was a very, very fine much sense to hire a substitute when Don violist, and he also had a very strong back- has been working with me, now, for two ground in the science of music--in acous- years.” When it came to make the appoint- tics, in the psychology of perception, things ment for the following year, Mrs. Drake of that nature. So he came to the Musical said: “Would you like the job?” [Katherine Academy before the merger of the Con- Grube taught] theory, eartraining, keyboard servatory with the Academy, and taught harmony. And she was wonderful to me. courses in psychology and acoustics and related academic areas to music. He was very brilliant; he also served as Academic Professor Chittum continued his education Dean of the Academy. Joe Arcaro was on while evolving into a full time professor. the piano faculty. John Carlin was very im- portant to me--he was a piano teacher and a guide to me. He gave me all contempo- I studied privately with Per- rary piano music to play instead of the usual sichetti. We [worked on] literature that five-finger exercises. Allison Drake was on went well beyond what the conducting the piano faculty. Joseph Castaldo [came classes did. My master’s degree concen- to study at this time, and] we were class- tration was in 20th-century harmony and mates together. Steuermann above all was he was working on the 20th-century har- phenomenal. Phenomenal teacher. Olga mony book at the same time. So we had Samaroff-Stokowski was also one of those a lot to talk about. His conducting class, teachers who almost become a mother to for me, was priceless. We covered a lot of her students. the 20th-century literature. I worked with Sol Schoenbach and Oscar Shumsky [as] chamber music coaches, in the summer We asked Professor Chittum about his program for about five years in Ventnor, transition from student to credentialed , called the Ventnor Youth Or- faculty member. chestra. Here I was in my twenties with two guys that were phenomenal in their knowledge of repertoire and experience. I I finished the degree program, I think, in was just quaking in my boots whenever I was around Shumsky especially. I was on exclusively scholarship institutions--there the faculty and I was working towards a were several conservatories of music in doctorate part-time, ‘till ‘63 when I got central Philadelphia: Combs Conservatory my doctorate, with a major in theory and (from 1885), The Neupauer and Stern- a minor in conducting. I studied both with berg schools (about which little is known), Koutzen, formally, and [on my own] with Temple’s School at 1521 Locust, The New Persichetti. School of Music (from 1943), The Philadel- phia Musical Conservatory, and The Mu- sical Academy. We asked Professor Chit- Professor Chittum also spoke about the tum to locate for us the original spot of the problems beginning to face many of the Conservatory and the Academy. smaller institutions in Philadelphia at the time. The Conservatory was at 220 S. 20th St.- -the building no longer exists; there were There had been waves of G.I. Bill students two buildings there, 220 and 224. And flooding colleges and schools everywhere the Academy was at 1617 Spruce St., throughout the country from the Second where the Garden Restaurant is now, and World War and even after the Korean you can seen the plaque out in front that War. So the schools had an influx of stu- they’ve been kind enough to keep: that is dents whose tuition was being paid for the plaque from the original school. by the government, and they were flour- ishing. By the end of the ‘50s those stu- dents weren’t there anymore. But these Most small arts schools with a life as long were, most of them, proprietary institu- as this one will go through difficult times. tions. In other words they weren’t pub- Professor Chittum talked about the first of lic, just musicians [who] banded together several transformations that would even- and created a school--got a charter from tually lead to the University of the Arts. the state. But it became rather evident to many of them that [professional survival would be difficult] because of the work- Hendrik [Drake] and Joe Castaldo and I ing conditions. There were theaters in were very close friends, and we kept talk- Philadelphia employing musicians, there ing about the plight of both institutions; were hotels employing musicians. But the and over many long evenings and much jobs for live musicians were disappearing beer we said: “Why don’t we talk to the and that was the beginning of the end; powers that be in our own schools and and we can see that [this process] is still see if a merger couldn’t be facilitated.” It continuing today. With the recording and came to pass in 1962--in the spring of that electronic means of reproduction all of year the schools had completed a merg- those employment opportunities started er. And [thus] began their first year as the to go away. The schools really found out Academy--’62-’63 was the first year that that they couldn’t attract students to re- we taught as one body and both student main viable. bodies were merged. The reason why the name “Academy” was kept rather than “Conservatory” or Conservatory-Academy, Apart from The Curtis Institute of Music or something like that, was that the Acad- and The Academy of Vocal Arts--small, emy’s charter was a multifaceted, multi- purposed [one] from the State. In other The new institution still had little in the way words, it allowed for a greater number of of capital. It had its buildings and some programs to be created without seeking , but the student body supplied or- a revision of the charter. So the Conser- chestra instruments and scores. We asked vatory charter was returned to the State Professor Chittum what it was like for the and the Academy’s was kept. I think we students during those early years. still have the Academy’s charter upstairs in [the current director] Marc Dicciani’s office. The schools came together and [There was] a mini-chamber . became one school with a new program, Maybe three or four , just enough a whole new curriculum, and put it very to cover the parts. Not many brasses. solidly on a collegiate level. Most of the students in the conservatory were either , pianists, or sing- ers. I would say ninety percent. And con- Pepinsky remained as dean during the sequently the chamber music ensembles time of the merger of the Conservatory were things like: Class for piano trio (with and the Academy, [under] Castaldo. After piano, violin, and ), or there would he retired [the composer] Arthur Custer be maybe a sonata class (if there was a came in. [With this appointment,] we were trumpet, then there were certain trumpet looking to become more and more colle- sonatas that could be played with piano), giate in our physiognomy, so to speak. but everything was built around the piano. We felt that we had to get Middle-States There might have been a quartet every and NASM accreditations. The accredita- once in a while--a string quartet. They did tion was a matter of standing in the pro- a lot of solo vocal literature, and , but fession, [and] it opened up the possibility not productions. Every once in a of foundation support. It also gives the while there might have been a one-acter students [a] greater sense of legitimacy. put on. You know, maybe Pagliacci. There And it makes student transfers easier, in were programs in which there would be and out of the school, [or] going on to a spring , and [the] chorus would higher education. be involved. And they would perform big choral [works] like the Brahms [Deutsches] Requiem. Or if they wanted to do Caval- Arthur Custer worked very hard to help leria [Rusticana] they’d have to hire an or- us get a curriculum together and credit- chestra, you know, to give the singers an hour things--the kinds of things that are opportunity. Almost every faculty member just standard in colleges, where in the old would play at least one major recital [dur- days people used to pay by the cours- ing] the school year. es. Another school, outside music, that was having a problem--the same kind of problem these other schools were hav- In the Academy [the great American com- ing--was the Philadelphia Dance Acade- poser] Roy Harris taught as visiting profes- my; same problems, but in another field. sor. He still lived out West, but he came Ultimately, they merged [1976-1977] with once a week. At the time of the merger the Academy so that we had a dance de- there were a number of people on the partment. faculty who had a long-standing relation- ship with both schools. It was almost like a love, a “family kind of thing.” And some of them really were pressed--for instance, Babbitt [of Princeton University] was also Vincent Persichetti came in two days a involved. Babbitt was the Princeton repre- week to the Conservatory at the same sentative and Ussachevsky [represented] time he taught two or three days at Juil- Columbia. [The composer of electronic liard. It was really draining him, and his music] Mario Davidovsky also did some career was just flying at the time. That’s teaching for us, [and led the] New Music when Persichetti decided that he would Ensemble. Also Bob Morris was here. He [only] keep his three days or so at Juilliard came in the ‘80s and taught several years. [and discontinue his teaching in Philadel- There were a lot of good composers com- phia]. So then Castaldo became the head ing through. There have been some very of the composition department for both exciting times, and I think that Castaldo schools. And I was heading musician- was the guy that made that happen. ship and theory. A lot of faculty from both schools merged into one faculty, but a lot of new people started to come in [also]. Another evolutionary step began to take [The composer] Mike White came in. He’s shape in the 1970s under the directorship now still at Juilliard. And there was Bob of Joseph Castaldo. Suderberg. Andy Rudin came in from Penn, [and there were other] young com- posers. It was a very exciting time. Then, We expanded along Spruce Street and of course there were a lot of very fine per- then [into] the Lu Lu Temple building, fomers who came in as well. Philadelphia which was 313 South Broad Street, [when Orchestra people were the base of the it] came on the market. By that time, Hen- performance faculty. Maureen Forrest- drik Drake, who had been the first direc- er [taught voice] for a number of years. tor of the combined operation back in ‘62 [This exciting period lasted,] I would say, resigned from the position and Joseph a good ten years. Castaldo became the director in the late ‘60s. He saw the opportunity to get that building to move the school over. And with Late in the ‘60s Andy Rudin had come that movement over to 313, the name was over [having received] his graduate de- changed to the Philadelphia College of the gree from Penn. He was the [electronic] Performing Arts as it exists now within our studio assistant at Penn. [With his help institution, to allow for theater, dance, and and Castaldo’s support,] we got the sec- music. ond Moog synthesizer [ever built]. Robert Moog came and installed it and spent a week or two here with Andy, showing us While we were in that building the name of how to use it. I was using it, Mike White the school changed from the Philadelphia was using it, Castaldo was using it. But Musical Academy to the Philadelphia Col- Castaldo didn’t stay with it long at all be- lege of the Performing Arts, [which it was cause it was just too “mechanical” for called for] about ten years. And at that time him. Andy brought that technology over Castaldo was really interested in making to the school and taught classes, and all us--in terms of administrative structure--a the faculty members were very excited real academic institution. So he created a about the potential. We would make trips new administrative structure and had three a couple times a year to the Princeton- deans brought in. [He established posi- Columbia studio with [Vladimir] Ussa- tions for] dean of students, dean of admin- chevsky and [Mario] Davidovsky. [Milton] istration, [and] dean of faculty. Richard preparatory departments, [as when] I first Castillion was the dean of students. He came almost 20 years earlier. was a pied piper [who mentored many students]. And he was a wind ensemble person. The best I’ve ever seen. The best Professor Chittum was involved at each conductor--and [skilled in working] with phase of these developments. the students. He’d make them play so well they surprised themselves. [Eventually] I held a variety of--you name whatever--positions. I was Chairman of [Another important figure was] Clem[ent] Composition and Theory, and then I was Petrillo, a phenomenal pianist from the Director of Graduate Studies for a while “old school” [with an] Italian conservato- and then I was in charge of certain spe- ry-type training. He was very thorough in cialized programs. I was kind of like the his teaching, very demanding. He taught troubleshooter I guess, [whenever] they solfeggio when the schools merged, needed somebody to do a certain kind of and piano, at the Academy. Ultimately a thing, just like my being the Director of he became head of the piano depart- the School of Music here [after the merger ment, [but he also served as Dean, after with PCAD]. [After the merger which was Arthur Custer]. He was a facilitator, and formulated in ‘86-’87,] the plan was that I an “implementor”, and made sure that would take the school through [the NASM] things got done. He served Joe very well process in 1990 and then stay on for an- in that way. He was dean for, I would say, other year. It took a couple years--I think I about eight years. Then [Fred] Kaufman stayed 2 or 3 years after--until about ‘93, briefly served as dean and director of the and then I went back into the teaching fac- School of Music. When he left the insti- ulty, and my administrative assistant at the tution, they decided that they wanted to time, Marc Dicciani was appointed direc- have a separate dean and a separate di- tor. rector of the school. So they hired Steve Jay and in the same year they asked me if I would be director of the School of Mu- We asked Professor Chittum to discuss in sic. Finally, the same thing happened, in more detail some of the influential people a way, at the Philadelphia College of Art present throughout his time at the School. [and Design]: again, the separateness didn’t seem to insure a healthy viability for the future. And Joe Castaldo had al- ways had a dream of a college, or uni- Edward Steuermann versity, of the arts. In Pennsylvania, the university charter stipulated a certain number of graduate programs. What we I never studied with Steuermann, but I had all done--both the College of Art and knew the students who did study, my fel- PCPA--[was make the decision] not to low students. He had a way of teaching at offer [advanced] graduate degrees. I got the Conservatory where the student would one of the few doctorates, one of the last take a two-hour lesson every other week ones. The idea was to build the school up instead of an hour lesson. And they could from below--to have a solid undergradu- play anything they wanted, it didn’t matter ate program and then to work on mas- what they brought. The studio had glass ter’s programs. Both [also] had extensive doors, it was like French doors, [and] you could see what was going in there when for, like, five [or] ten minutes, talking--just you walked by. And they would put the playing this piece. And I’m saying to my- music [unopened] up on the piano, and it self, “What am I doing here?” would sit there, and then they would start to play. And then, maybe about after ten minutes you would hear Steuermann say, Vincent Persichetti “No...” He’d go over to the piano and play [from memory] the piece that they were working on. He knew everything! He Persichetti--the same thing. We walk into played everything! And that’s the [kind of] class, and I remember specifically, students mind that I was exposed to. would bring scores--full scores of their own work--and he’d play through them [with] no problem, all [parts] transposed--noth- Oscar Shumsky ing to it. What he couldn’t play he’d sing. And I remember that we all thought “He’s seen the piece a couple weeks in a row, so With Shumsky [it was similar]. He and he’s got a feel for it.” One day a kid went I and Shoenbach were working in the down to [the music publisher] Elkan-Vogel, summer and my job was to coach wood- and they had just published Stravinsky’s winds and brasses--chamber music. But Dumbarton Oaks Concerto. He put it up one night I was conducting one of the [on the piano and] showed it to Persichetti. Mozart Serenades and I said to Oscar, Persichetti was like a vacuum cleaner. You “Why don’t you come in. I’d like you to put a score [in front of] him, he had to grab hear a rehearsal and maybe talk to me it and put it on a piano, you know. And he about it.” So, I had the students set up in starts to play this thing, this full orchestral the conventional way which was, I think, score. [I also had] conducting lessons one- an octet--2 flutes, 2 oboes, 2 clarinets, 2 on-one with him. Our lessons were: He’d bassoons was the instrumentation. And play the piano and I would conduct him. he listened for the first half and then I He would give me pieces like Ruy Blas-- said, “I’m having trouble with balances, the overture by Mendelssohn--where it and I’m also having trouble when the starts and stops, and starts and stops. Or flute and clarinet or the flute and oboe things like Beethoven[‘s] First Symphony, are playing in octaves, [with] intonation at the end of the introduction where the and ensemble.” So he says, “can I try tempo changes, and how do you get that something?” And I said, “Yeah.” So he four-five note descending passage in the says, “We’re going to sit the two flutes time of the new movement, from the old to and the two oboes together right in a the new one. It’s very tricky. We were doing row [of] four, [with] the two oboes, the the Stravinsky Symphony in Three Move- two clarinets and two bassoons right ments, I think. We got to a place where behind them, so there [will be] two rows there’s a big oboe solo, and he doesn’t of four with the first players in the middle play it. And he’s just playing along, playing of the box.” He says, “Now try it.” And along. And I said: “Dr. Persichetti, I’m not the problem went away. He says, “Well, hearing the oboe.” He says: “Oh yeah!” I you know it sounds much better, but you say: “What [do you mean] ‘Oh yeah’?” He know that part where such-and-such is says: “He’s not playing!” I say: “Why isn’t happening?” He goes over and starts to he playing?” He says: “He’s lost. You re- play the piece on the piano--a woodwind member back on page 22, you missed a piece. He’s a string player! And he played very important cue after he had rested for ter at what they do than I could be at what about five minutes, and you didn’t cue they do, and then I’ve learned from them. him.”

[In these years, too, the students and fac- Theodore Antoniou ulty performed major works with Antoniou, such as Stravinsky’s] Les Noces. We did Les Noces twice because there were al- One of the important things that Joe ways good pianists at the School. And you Castaldo did was to hire [the Greek need four pianos to do Les Noces. The- composer and conductor] Theodore odore did a lot of large orchestral works. Antoniou to teach [at first] some of the Sometimes Theodore was the conductor, theory classes, like the fugue class [and] not always--and he was a marvelous con- orchestration. What then happened was ductor. We used to do annual in that a tremendous emphasis on [the mu- the Convention Hall, the one up on 34th sical] avant-garde--not only 20th-century Street. I heard some of the standard works music, but [experimental] avant-garde conducted in those concerts like Tchaik- music--developed very quickly. Then ovsky’s Fourth [Symphony], or Debussy[‘s] [as I described before] we had compos- La Mer or the Nocturnes--Theodore con- ers coming in: [Morton] Feldman, [Ernst] ducted these--that were just mind-shat- Krenek, [Milton] Babbitt, [Vladimir] Ussa- tering performances. With the School or- chevsky--anybody that was anywhere in chestra! New York, or any passing through Philly, going from Philly to Chicago or New York to Chicago. Also [John] Cage, [Pierre] By all accounts, the Castaldo-Antoniou Boulez. Boulez was here conducting the years were a most exciting time when the [Philadelphia] Orchestra. Theodore had School had a distinctive focus. Integrated him come in. Theodore knew all of these into the conservatory curriculum, experi- people because he conducted their mu- mental and avant-garde music was being sic in Greece and here, so he was in championed with an awareness of new correspondence with these people with developments--some ultimately of lasting questions about the pieces and things interest, some not--throughout the world. of that nature. [Karlheinz] Stockhausen The students were part of a vital commu- [visited] the School--he was guest teach- nity. We asked Professor Chittum why, ing at Penn. [In the late ‘60s to the early apart from the economic advantages of ‘80s,] there was just one big-name com- the influx of students, the school seemed poser after another. Theodore stayed, I to thrive so wonderfully at this time. guess, ‘till about ‘85. He’s a wonderful, wonderful person. Again, an inspiration to me. There’s an old adage: If you want It has much to do with personality, be- to be better you’ve got to play with play- cause strong leaders of a school--if they ers who are better than you. Not where are there any appreciable amount of time- you’re the best player in the group, but -put their stamp on the school, and give where you’re the worst. And that’s when it a focus, an orientation. No school can you get better. Fortunately, I think I owe do everything. The administration sim- whatever success I’ve had in my career to ply wanted it, not tolerated it--wanted it! the fact that I’ve always been surrounded [Castaldo] wanted it, and worked [to sus- by people who have been so much bet- tain] it. Consequently, a lot of people did things for nothing; Boulez never got a nickel for coming here as a guest! I re- member that many of our courses had a very heavy concentration in 20th-century literature--[notably] the ensembles. I also taught courses in Music Lit[erature] that were devoted to specific things. I taught a course in Beethoven quartets, just the Beethoven quartets, to undergraduates. There were courses in music literature or vocal chamber music--very specialized for a small group of people. That’s expen- sive, to have ten kids in a class, you know- -and for that to be a quarter, maybe, of a teacher’s load--to teach just those ten students is very expensive. Somebody has to say, “that’s important”--somebody at the top. But somehow there was sup- port in the [School and beyond in the lo- cal] community, and there were people who believed in what was going on, and so a lot of these things came off. A Chronology of Music in Philadelphia to 1900

by Mark Gerber

A chronology can serve as a preliminary 1704 step on the way to narrative history, a sketch in which few images take sugges- Christopher Witt, keyboardist and or- tive form. What follows is a selective and gan-bulder, joins the German pietists; provisional notice of dates and facts rel- purchases virginals from the Wilderness evant to the history and growth of musical community in 1725; builds a large pipe communities in Philadelphia, derived from organ in his home in Germantown. sources accessible in the Reading Room of the Music Library. Many entries have yet 1716 to be corroborated with sufficient sources to qualify them as solid; corrections and Friends, or Quakers, issue a statement emendations are solicited. condemning plays, music, and dancing in Philadelphia. Music will play no role in the well-known Friends Schools of Philadel- 1694 phia until the 20th century (Germantown Hermits of the Wissahickon and Women Friends School purchases its first piano in in the Wilderness, German pietist sects, 1914 and appoints its first music teacher settle in the valley between Germantown in 1927). and Roxborough, bringing viols and other instruments. Virginals of the lady’s sect are 1726 the first recorded keyboard instruments in Pennsylvania. The Hermits become Early records of “English and Negro Ser- known as organ-builders. (The community vants” receiving instruction in psalmody will move to Ephrata in 1735.) at Trinity Church (to 1751).

1697 1728 Swedish organist Jonas Auren settles in Pipe organ installed in Christ Church. Philadelphia; plays the (new?) organ by 1703 at the Old Swede’s Church, in Wica- co, southwest Philadelphia. 1729 First music printed in Philadelphia, a psalm book, by the Franklin Press. 1698 Johannes Kelpins begins compilation of the Hermit’s hymn book, with hymns com- 1730 posed by members of the community. Goettliche Liebes und Lobes Gethoene, 1st of three hymnbooks printed by Ben- jamin Franklin’s printshop for the Ephrata Community (other volumes followed in 1732 and 1736). spinets and virginals. First published advertisement for music 1743 lessons in a Philadelphia newspaper, in- cluding “playing on the spinet”. Two organs, as well as brass and string choirs, in use by Philadelphia Moravian Congregation at Broad and Race Streets. 1737 Francis Hopkinson born; will become 1744 Colonial composer and promoter of con- certs, a delegate to the Continental Con- Philadelphia Music Club sponsors private gress, and a signer of the Declaration of concerts in coffee house, as recorded by Independence. Alexander Hamilton on visit to the City.

1739 1745 Early publications of sacred music by An- Congregational song noted at newly drew Bradford and Christopher Saur. founded synagogue by the community Mikve Israel.

The American Band, an ensemble of Ger- man immigrants, formally constituted. 1748 Organ heard at St. Joseph’s Church in Willing’s Alley, Philadelphia’s first Catholic (or 1737?) Johann Klemm (or John church. John Adams later remarked on Clemm) of Philadelphia completes first the quality of the chant singing here, in his pipe organ built wholly in the Colonies; diary of 1774. will be installed at Trinity Church, New York. Philadelphia Dancing Assembly formed at City Tavern, on 2nd Street, north of Wal- 1740 nut. George Whitfield, noted traveling preach- er, gives several public sermons in the city, resulting in the cessation of public music- 1749 making; Alexander Hamilton notes in his John Beals advertises as teacher of sev- diaries that the effects of those sermons eral musical instruments (Pennsylvania were still felt in 1744. Gazette, March 21).

Members of the American Band found The Kean-Murray Company presents mu- first Association for the support of con- sical plays (ballad ?) at Plumstead’s certs in the Colonies. Warehouse, King Street.

1742 Gustavus Hesselius, Swedish organ builder, established; builds first American 1752 pel, Philadelphia branch, offers training to First music printed in Philadelphia from slaves in singing of the psalms. movable type, the hymnbook of Christo- pher Saur, Kern alter und neuer, in 700 bestehender, geistreicher Lieder. 1759 Francis Alberti advertises as teacher of the violin “according to the new Italian meth- 1754 od” (Pennsylvania Gazette December 13). Flora, or Hob in the Well, British ballad opera, previously performed at Charles- ton, SC, presented (at College of Phila- Michael Hillegas operates first music store delphia); the first specific identifiable- mu in the American Colonies (to 1774), offering sic drama performance in Philadelphia. instruments, tutors, ruled paper, strings, and sheet music. (He later becomes the first treasurer of the .) Visiting Hallam Troupe of London stages ballad operas at Plumstead Warehouse-- against opposition of the Friends and the Probable founding of The Orpheus Club, Governor. the earliest forerunner of the glee club mu- sic societies at the University of Pennsyl- vania. 1757 Thomas Arne’s masque, Alfred, pro- 1760 duced by Francis Hopkinson at College of Philadelphia (later named University of Organ installed at College Hall; will be Pennsylvania). played often by Francis Hopkinson.

First Philadelphia Public Concert, Janu- 1761 ary 25, at the Assembly Room, in Lodge Publication of Urania, or A choice collec- Alley (advertisement in January 20 Penn- tion of Psalm Tunes, Anthems and Hymns, sylvania Gazette, but no programs sur- with 198 pages of music, by James Lyon, vive); under the direction of John Palma. printed partly in 1760, sold by subscrip- At the second concert, March 17, George tion in 1761, advertised for sale to general Washington is in attendance. Appears to public in 1762; most successful of all the be the first known chamber music sub- English language tune books. scription series in the Colonies.

1762 1758 Benjamin Franklin modifies the European The Hallam Troupe, reconstituted as The conception of musical glasses, turning Old American Opera Company, returns them sideways on a rod, thus inventing to Philadelphia; also some performances what he calls the “glass armonica”; Mo- at Society Hill in 1759. zart, Haydn, and others will subsequently write compositions for it. Society for the Propagation of the Gos- 1763 Peter Erben born in Philadelphia; will be- Collection of Psalm Tunes compiled by come well-known organist and composer Francis Hopkinson. of church music in .

James Bremner, Scottish organist and Hopkinson assumes post of organist at concertmaster, settles in Philadelphia, to Christ Church. become organist at both St. Peters and Christ Church. 1774 One Vidal, guitarist and mandolinist, con- Reaction against the Quaker opposition certizes in Philadelphia. to music, in anonymous pamphlet, “The Lawfulness, Excellences, and Advantage of Instrumental Music in the Public Wor- H. Viktor, German inventor, settles in Phila- ship of God.” delphia (invents “trumpet with drums” in- strument). 1764 Subscription concerts advertised in the 1775 Pennsylvania Journal, held at the Assem- (or 1774?) John Behrent, piano maker, es- bly Room, Lodge Alley. tablished; manufactures the first American piano. 1766 Old American Opera Company opens 1776 the Southwark Theatre, the first venue Revolutionary period and British occupa- in the Colonies to become known by the tion. American theatrical works banned to phrase Opera House; the same season 1779. British flourish pri- also offers Thomas Arne’s Thomas and vately, including a flotilla from the Delaware Sally. to the City with musicians on barges in May 1778, just before the British evacu- ate; Daniel Smith, operator of City Tavern, 1767 must flee with them, as a Tory loyalist. First ballad opera composed by an Amer- ican (Andrew Bart�n) is announced, aptly named The Disappointment; the perfor- 1778 mance is canceled on account of its sa- The Philadelphia Dancing Assembly recon- tyrical plot. stituted; dance orchestra music begins a new ascent in popularity. 1770 Hallam Company presents the Masque 1781 of Comus of John Milton, presumably to Hopkinson’s Temple of Minerva performed, the music of Henry Lawes. an “oratorial” . 1782 1787 German flutist Wilhelm Braun settles in John Aitken and Thomas Dobson, music Philadelphia. publishers, established. The only sheet- music publishing in the country between 1787 and 1793 takes place in this Phila- 1783 delphia shop. Alexander Juhan, violinist from Charles- ton, settles in Philadelphia. attends concert or- ganized by Reinagle at City Tavern; he will 1784 later engage Reinagle as music teacher for his granddaughter. The concert includes Arrival of Andrew Adgate, singing teach- music by Haydn, Martini, and local Phila- er, who founds the Institute for the En- delphia composers Lewis and Henry Hal- couragement of Church Music. lam establish Old American Opera Com- pany (to 1794). 1785 Urania Society founds Adgate Free Adgate’s school singing society recon- School, a singing school operating to stituted as the Urania Society, to provide 1793; Andrew Adgate publishes Lessons support of choral music performance (to in music instruction. 1800).

Henri Capron, French cellist, settles in 1788 Philadelphia. Charles Taws, piano maker, moves to Phil- adelphia from New York. 1786 Alexander Reinagle, English harpsichord- Choral concert given at Reformed German ist and singer, settles in Philadelphia. Church, advertised to have orchestra of 50 and chorus of 200. Hopkinson prepares music portions of The Book of Common Prayer for Phila- First publication of songs by American delphia’s Protestant Episcopal Church. composer, Hopkinson’s Seven Songs.

New concert series initiated at Pennsyl- Collection of psalmody, A Selection of Sa- vania Coffee House; music of Haydn, cred Harmony, published (compiler anony- Vanhal, Stamitz, J.C. Bach, Toeschi, mous), the 1st of three editions; its preface Gossec, and other composers of the Eu- contains an early recognition of the impor- ropean vanguard are presented to Phila- tance of the Boston composer William Bill- delphia audiences (to 1793). ings. 1789 George Gillingham, English violinist, per- Charles Albrecht, piano maker, estab- forms with Carr and Taylor at the Chestnut lished (or earlier). Street Theatre.

1790 1794 “Grand Concert, Vocal and Instrumental” Chestnut Street Theatre Orchestra, of 20 held in the new U.S. Capital by Company musicians, is formed; ballad operas titled of French Musicians. Robin Hood (composer unknown) and Tammany, by James Hewitt, on an Ameri- can Indian theme, are given. 1791 The New American Opera Company, George Willig, German-born music pub- or The New Company, presents sev- lisher, established; will later publish Ste- eral productions in Haymarket Concert phen Foster’s first song, “Open thy lattice, Hall, mainly British musical plays. It is love” (1844). this troupe for which the Chestnut Street Theatre will later be built. Reinagle be- comes comanager and chief composer, Performance of Paisiello’s Barber of Seville supplying overtures, ballet-pantomimes, (at the New Theatre?). entr’actes, and songs.

1795 1792 The New Theatre presents Reinagles’ Victor Pelissier, French composer and The Volunteers, and the following season hornist, settles in Philadelphia. Carr’s The Archers (music now lost); works by American composers assume a regular presence. 1793 Moller and Capron Music Store estab- lished. 1796 Gretry’s Richard Coeur de Lion performed by visiting French Company of Comedi- New Theatre Opera House, also called ans. Chestnut Street Theatre (at the time the grandest theater in the country), opens. 1798 Benjamin Carr, British singer and com- The psalmodist Andrew Law provides sing- poser, settles in Philadelphia; debuts as ing instruction in his Philadelphia school, singer in following year. advertising the cost at $2 per quarter. To 1803.

Raynor Taylor also arrives, British organ- ist and composer who had worked at the 1800 Chapel Royal under Handel. John Hawkins of Philadelphia applies for first United States patent on an upright pi- ano; demonstrates the instrument at the 1810 Franklin Institute in 1802. (He is also the inventor of coiled strings for bass notes.) The New Music School is opened by Peter Dupre (26 Spruce St.)

1801 Significant collection of sacred music, Vo- Publication of A Collection of Spiritual cal Harmony, published by George Blake. Songs and Hymns by Richard Allen, the first hymnal designed specifically for an all-black congregation; by the minister 1811 of the American Methodist Episcopalian The first of several year-long residences of Church. Lorenzo da Ponte, formerly Mozart’s libret- tist, and opera impresario. 1802 George Blake, music publisher, estab- 1812 lished. Thomas Loud (Jr.), son of English piano maker, settles in Philadelphia. Rodeph Shalom synagogue founded; in the 19th century its locally built organ will 1813 become widely appreciated. William Henry Fry born; will become im- portant American composer of opera. 1807 First African Presbyterian Church of Phil- 1814 adelphia founded. The New American Opera Company pro- duces Taylor’s The Aethiop. 1808 First African Baptist Church of Philadel- Handelian Society founded to support phia founded. choral concerts.

1809 1815 Francis Johnson, bandleader and music Edwin Pearce Christy born in Philadel- educator, settles in Philadelphia; he will phia (November 28); will found one of the become the most sought-after bandmas- earliest known singing troupes ter of his time, will take his ensembles to (1843), the Christy Minstrels. Europe, and introduce popular European traditions to Philadelphia in turn. 1816 Haydn Society of Philadelphia founded. Allyn Bacon, music publisher, established. 1817 Ball held for visit of General LaFayette, with The Bohemian violinist and composer the band of Francis Johnson. Anton Philip Heinrich settles in Philadel- phia; conducts the Southwark Theatre Orchestra; will dedicate an 1834 orches- Musical Fund Society Hall built, on Locust tral work, The Treaty of William Penn with Street, west of 8th Street (part of the facade the Indians, to the Musical Fund Society still stands); designed by member of the Soci- of Philadelphia. ety, architect William Strickland.

1820 St. Cecelia Society organized, conducted by Thomas Carr (to 1830). Musical Fund Society formally founded by, among others, Carr, Taylor, Benjamin Cross, and the painter Thomas Sully. The Society Founding of Historical Society of Pennsylva- also establishes a music library. nia, to safeguard colonial and later manuscript John Cromwell, black singing-school teach- collections, including music. er, begins training church musicians. 1825 1821 Musical Fund Society Academy founded, to First Musical Fund Society public concert; offer music instruction. includes Beethoven’s 2nd Symphony. 1827 1822 African Harmonic Society of Philadelphia Musical Fund Society-spnsored perfor- founded, to promote church music in the mance of Haydn’s Creation, at Washington black community. Hall (Chestnut Street Theater) Septimus Winner born, May 11; will become First American performance of Rossini’s Bar- one of Philadelphia’s most well-known popu- ber of Seville (by the Henry Phillips Compa- lar song composers. ny). French Opera Company of New Orleans pres- 1823 ents French music theater works (the first of eight visits). An operatic singing school, The American Conservatorio, founded by Filippo Trajetta, son of the famous Italian opera composer 1828 Tomaso Trajetta. German violinist Henry Dielman settles in Phil- adelphia, plays in the Chestnut Street Theatre 1824 Orchestra, and begins career as a composer. The four Loud Brothers expand piano manu- facture in Philadelphia (to 1854). 1830 ly abandoned over night. Apollo Society formed to give chamber mu- sic concerts. Philadelphia Maennerchor founded by Philip Wolsiefer (cont. to 1962), the oldest German Leopold Meignen, French conductor, settles singing society in the United States. in Philadelphia. Leopold Meignen and Augustus Fiot found 1831 music publishing firm (to 1839). Charles Stieff, German piano-maker, settles in Philadelphia. Charles Jarvis, English pianist, settles in Phila- delphia. 1832 Da Ponte again in residence; acts as impre- 1837 sario for the Montressor Troupe (1833) and Prussian piano maker Johann Heinrich Scho- the Rivafinoli Opera Company (1834), Italian macher established. traveling companies that bring Italian opera, including Bellini’s Il pirata and Rossini’s Otel- lo. 1838 Francis Johnson introduces English-style Mozart’s Die Zauberfloete possibly presented promenade concerts to Philadelphia (to 1844), (March17) in its first American performance including “Voice Quadrilles” in which band (unconfirmed). members sing.

1833 1841 Anacreontic Society, music society for senior First confirmed American performance of Mo- musicians, founded (to 1860). zart’s Magic Flute, (in English) by the Musical Fund Society, conducted by Benjamin Cross, billed as its “Grand Musical Festival”; visitors 1834 from New York and Boston come to the pre- miere. Mozart’s Marriage of Figaro performed by The Wood Company, newly founded local opera troupe, at Chestnut Street Theatre. First American performance of Bellini’s Norma (January 11) by The Wood Company (in Eng- lish). The opera was translated and staged by 1835 the Fry brothers, especially William Henry Fry, Following upon Italian opera craze in New for whom the opera was inspiration to com- York City, The Wood Company presents pose Leonora (see 1845). hugely successful production of Bellini’s La Sonnambula (on February 14). In the wake of Italian opera, English ballad opera is near- Performance of Haydn’s The Creation at the First African Presbyterian Church, by fifty- piece orchestra and 150-voice chorus. ing Aaron Connor, James Hemmenway, Isaac Hazzard, William Appo--among first black composers to publish music in the United Fry’s opera Aurelia the Vestal completed; is States. thought to have remained unperformed.

1847 1842 Havana Italian Opera Company brings works Lucy McKim Garrison, born in Philadelphia by Rossini and Verdi to Philadelphia, including (October 30); will conduct pioneering work Rossini’s Mosë in Egitto (first version of Moise) in collecting slave songs in the Sea Islands in 1847 and Verdi’s Luisa Miller in 1852. in the 1860s.

1848 1843 John Albert, violin-maker, established (to Musical Fund Society Concert Series brings 1921). the Norwegian violinist Ole Bull (first of five appearances). Germania Orchestra from Berlin gives a series of six concerts. 1844 Frank Johnson Brass and String bands con- tinued by Joseph Anderson (to 1860). Lee & Walker, music publisher, established.

Meignen assumes post of conductor of the 1850 Musical Fund Society Orchestra (to 1857). Eight recitals given at Musical Fund Society Hall by Jenny Lind, to great acclaim. 1845 Premiere of W. H. Fry’s Leonora (June 4), 1851 first grand opera by an American composer G. Andre & Company, music publisher estab- to be performed; at the Chestnut Street The- lished at 19 South 9th Street (later moved to ater, conducted by Leopold Meignen. Chestnut Street; to 1879).

Premiere, with the MFS Orchestra, of 1852 Meignen’s Grand Military Symphony (17 April). Recital of Adelina Patti, age 7 (September).

Winner Brothers Music Store opens. 1854 The Pyne and Harrison English Opera Com- pany visits Philadelphia at the start of a three- Rise to prominence of Philadelphia school year tour of American cities. of black popular song composers, includ- 1855 (to 1940). Philadelphia’s first black minstrel theater, The 11th Street Opera House, opens (in former Presbyterian Church); the minstrel performer 1861 and popular song composer James Bland Kellog Opera Troupe founded by the singer will later become associated with it. Clara Kellog to promote and perform French opera.

1856 Germania Orchestra constituted under direc- 1862 torship of Carl Lenschow (to 1895); named The great German-American conductor Theo- after visiting ensemble (see 1848). dore Thomas organizes an orchestra (1861) that will make regular visits to Philadelphia to 1878. Philadelphia Musical Journal and Review be- gins publication (26 nos., through 1857). 1863

1857 First American performance of Gounod’s Faust at the Academy of Music. Opening of the Academy of Music, with a production of Verdi’s Il Trovatore by the La Grange Opera Company. At this time it is 1864 considered the finest opera house in the First American performance of Spohr’s Jes- country, modeled after La Scala, with 2900 sonda at the Academy of Music. seats.

Premiere of W. H. Fry’s third grand opera, 1858 Notre Dame de Paris, a benefit for Civil War Philadelphia premiere of Rigoletto at the wounded, at the Academy of Music (4 May). Academy of Music.

1869 Revised version of Fry’s Leonora performed, Philadelphia Beethoven Society founded now in Italian as Giulio e Leonora, at the Academy of Music (29 March). 1870 1860 The blind organist David Wood, of Pitts- burgh, becomes choirmaster at St. Stephen’s Black Opera Troupe founded; directed by Church. Elizabeth Taylor Greenfield, a former slave brought to Philadelphia as a child, and a self-taught instrumentalist and singer. Founding of Philadelphia Musical Academy by John Himmelsbach; in 1876 directorship transferred to Richard Zeckwer (to 1917, when New Chestnut Street Theatre built, near site Academy merges with Hahn conservatory). of original; continues its concert traditions Performance of the revised version of the become largest of its kind in the country. New York composer George Bristow’s opera Rip van Winkle (orig. 1855) at the Academy of Music (November 21). American premiere of Wagner’s Der Fliegende Hollander (in Italian).

1872 Orpheus Club, a male-voice choral society, Theodore Thomas introduces Wagner’s founded (to present). Grosser Festmarsch written for the bicenten- nial of the United States.

Composer and organist William Wallace Gil- christ moves to Philadelphia, becomes choir- brings concerts of oper- master of St. Clement’s Church; will become etta selections. greatly honored in Philadelphia, and head of voice instruction at the Philadelphia Musical 1877 Academy (1882). Founding of Philadelphia Conservatory, the earliest chartered music school in Pennsylva- Aimee French Opera Company brought to nia, thus the first to be able to award degrees Philadelphia for the first of eight visits. (will merge with Philadelphia Musical Academy in 1962-63).

1873 By now a prominent conductor, published Earliest student orchestra of the University of theorist, and admired teacher, Leopold Pennsylvania founded; their rehearsals are Meignen dies (in June). discouraged by the University, and another is only established after 10 years.

1874 Audience at Academy of Music assembles to Philadelphia Mendelssohn Club founded (to hear piano recital by telephonic transmission present). from New York (April 13; the pianist “Bosco- vitz” has not been identified). 1875 University of Pennsylvania establishes first J.W. Pepper’s Musical Times begins publica- chair of music and composition (held by tion (title varies; to 1912). Hugh Clarke). 1879 1876 The Church Choir Company formed to attract Theodore Presser founds Music Teacher’s amateur musicians to secular concert groups; National Association. becomes training ground for singers in operet- tas conducted by John Philip Sousa, resident in Philadelphia 1876-1881. J.W. Pepper, music retailer, established; will Catalogue of printed music in the Musical Fund Society Library is published (304 titles 1887 with full part sets). David Wood, 19th-century America’s great- est organist, becomes Director of Music at 1880 the Philadelphia School for the Blind (to 1910; school moves to Overbrook in 1899). Philadelphia Musical Academy moves to 1617 Spruce Street. Debut of violinist Arthur Hartmann, age 6, son of Hungarian immigrants; would find fame in 1882 Europe and perform with Debussy. Performance of Uncle Tom’s Cabin by the New York composer Caryl Florio (pseud- onym of William James Robjohn) at the 1888 Academy of Music; this opera was then his The Grand Opera House, built by John Betz, most famous work, but he is remembered opens at Broad and Montgomery Streets; now as composer for and promoter of the Gustav Hinrichs, German protege of Theodore saxophone. He wrote many works for the Thomas, founds resident company (to 1896). Dutch-born saxophonist Edward Lefebre, American premieres include Leoncavallo’s who introduced the instrument to the United Pagliacci, Mascagni’s Cavalleria Rusticana, States in the 1870s. (1891) and Puccini’s Manon Lescaut (1894).

1884 First of visits to Philadelphia of Metropolitan Theodore Presser, music publisher, estab- Opera Company of New York, with production lished. of Verdi’s Otello (May 4).

The Etude magazine begins publication in Violin maker Carmen Primavera established. Philadelphia by Theodore Presser (moved from Lynchburg, Va., 1883) 1889 brings first full perfor- Treble Clef Club, a women’s choral society, mance of Wagner’s Ring of the Niebelungen, founded (to 1934). on four consecutive nights (March 26-29), conducted by Anton Seidl. (Afterwards, Met visits are suspended until 1896, owing to lack 1885 of interest.) Combs Conservatory, the third most impor- tant of Philadelphia music schools, founded by Gilbert Raynolds Combs. 1891 The visiting Boston Festival Orchestra is con- ducted by Peter Tchaikovsky; program in- 1886 cludes Tchaikovsky’s B-flat minor piano con- North’s Philadelphia Musical Journal--from certo. 1889 The Philadelphia Musical Journal--be- gins publication (6 vols., to 1891). 1892 born in south Philadelphia William Wallace Gilchrist’s First Symphony (February 27) performed (manuscript survives at the Free Library). Philadelphia public schools formally include music in the city’s elementary curriculum. 1893 Founding of the Philadelphia Symphony So- Philadelphia Free Library makes first purchas- ciety, under the leadership of Gilchrist (to es to establish a music collection, five years 1900); though staffed by amateur players, after its founding. it forms a principal connection to the later founding of the . 1898

1894 Victor Talking Machine Company founded in Camden; with the Berliner Company, places Ferruccio Busoni performs on the occasion Philadelphia area in leading position in manu- of another visit of the Boston Orchestra. facture of phonodiscs and phonographs (and later of radio). Will consolodate with Berliner in October 1901; disc pressing begins in Cam- Berliner Gramophone Company founded in den in 1902. Company’s recording Studio lo- Philadelphia by Emile Berliner, marking the cated at 10th and Lombard Streets, Philadel- birth of commercial phonodisc production phia. and sale; represented in Europe by the Gram- ophone Company (London) and Deutsche Gramm-ophon Gesellschaft (Hanover). Initial 1900 list for sale (issued in November) contained 52 titles. Two orchestral “Philippine Concerts” orga- nized to benefit families of soldiers killed in the war with Spain; leads to discussions on 1895 founding a permanent orchestra. Humperdinck’s Hänsel und Gretel given American premiere by the (Gustav) Hinrichs Interest on the part of musicians in various lo- Company, at the Academy of Music. cal orchestras and the efforts of the Musical Fund Society lead to founding of the Phila- delphia Orchestra. The first performance on 1896 November 16, conducted by Fritz Scheel, Visiting Her Majesty’s Opera Company from included music by Goldmark, Beethoven (the London gives American premiere of Giorda- Fifth Symphony), Tchaikovsky, Weber, and no’s Andrè Chenier. Wagner.

1897 Works Consulted: Philadelphia Choral Society founded; con- ducted by Henry Thunder (to 1946). Albrecht, Otto, et al. “Philadelphia,” in The New Grove Dictionary of American Music, ed. H. Wiley Hitchcock and Stanley Sadie (Lon- don: Macmillan, 1986), III, 547-54.

Democratic Souvenirs: A Historical Anthol- ogy of 19th-century American Music, ed. Richard Jackson. New York: C.F. Peters, 1988.

Gerson, Robert. Music in Philadelphia. Phil- adelphia: Theodore Presser, 1940.

Hall, Charles. A Chronicle of American Mu- sic, 1700-1995. New York: Schirmer Books, 1996.

The Musical Fund Society of Philadelphia, Founded 1820. Philadelphia: The Society, 1970.

Southern, Eileen. The Music of Black Ameri- cans: A History. New York: Norton, 1997.