Chapter XIII: Act II

1. Overture by Abel
2. Ariette Du Marquis de Floriant, by Mr. Cassaignard, Amateur
3. Concerto Piano Forte Miss Moller
4. Duetto, Violin and Tenor Messrs Reinagle and Moller
5. Finale Vanhall[221]

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.

“Mr. Reinagle was a gentleman and a musician. His compositions evinced decided cleverness and originality, and some of his accompaniments to the old opera music were much admired by good judges.”[227]

An article by William McKoy presents a clearer picture of Mr. Reinagle. He says:

“Mr. Reinagle, one of the Managers, and a Professor of Music, used to be seen, but only on particular occasions, seated at the Piano Forte, then standing against the stage, in the rear of the band [orchestra] for the mere purpose of touching a few notes solo, by way of accompaniment to the silvery tones of Mrs. Wignell. * * * Mr. Reinagle, while thus enjoying the effect of her inimitable chant, exhibited to the audience a head not unlike that of Louis the XIV but divested of the simplicity, bushy, powdered hair, large high forehead, and round full face, illuminated by silver mounted spectacle glasses, a perceptible smirk at all times about the mouth, and an extraordinary depth of dimple in his cheek, while sitting there and surveying the irritability of Mr. Gillingham, the Leader of the Band, on his being obliged to leave the music of Händel and Mozart, and strike off into the ‘President’s March.’”[228]

In Durang’s account, the compositions of Reinagle are spoken of highly; there is the testimony of another man, an actor in Reinagle’s company, to substantiate the above eulogy, as follows (1804):

“By the death of Wignell * * * the management devolved upon his widow and Reinagle. * * * The musical department fell of course to the charge of Reinagle, whose compositions and adaptations were deserved favorites with the public.”[229]

Again, there is the testimony of a man of our own times to show that the above praise was not undeserved. Speaking of some of Reinagle’s sonatas, O. G. Sonneck says:

“These sonatas follow closely in the footsteps of Ph. Em. Bach and the early Haydn without being void of individuality. If the larger works of Reinagle all were as fine and effective as these sonatas he must have been a composer of merit.”[230]

Sonneck has published titles of forty-two works ascribed to Reinagle,[231] to which we have added several others some of which are still in existence. These compositions include sonatas, overtures, preludes, songs, opera music, adaptations, accompaniments, etc.

From all this evidence it will appear that Alexander Reinagle must have been a great force in music in Philadelphia, and did much to shape the taste of the people for good music--especially for German music, and may thus be called the greatest German American musician of that century.

Concerning his home life, it is known that Reinagle was married and had two sons, Hugh, a scenic painter of some note, and Thomas. The later years of his life Reinagle spent in the management of a theatre in Baltimore, where he died September 21, 1809.[232]

Note: For a list of Reinagle’s compositions, Cf. Appendix.

FOOTNOTES:

[187] Sonneck, _Early Concert Life_, p. 79.

[188] Sonneck, _Quarterly Magazine of International Music Society_, October-December, 1906, p. 112.

[189] O. G. Sonneck first called attention to this book in his article in the _Quarterly Magazine of the International Music Society_ quoted above p. 113.

[190] Cf. Articles on Hugh Reinagle, in Grove’s _Dictionary of Music_, and in “_Dictionary of National Biography_.”

[191] The originals are deposited in the Library of Congress.

[192] Quoted from _History of the Pianoforte in America_, by Daniel Spillane.

[193] Sonneck, _Early Concert Life_, p. 78.

[194] Quoted from ditto, p. 81.

[195] Sonneck, _Early Concert Life_, p. 87.

[196] Cf. _American Daily Adv._, Jan. 19, 1791.

[197] _Am. Daily Adv._, Feb. 1, 1791.

[198] _Am. Daily Adv._, Feb. 16, 1791.

[199] _Am. Daily Adv._, Mar. 4, 1791.

[200] _Am. Daily Adv._, Mar. 23, 1791.

[201] _Am. Daily Adv._, April 13, 1791.

[202] _Am. Daily Adv._, Apr. 29, 1791.

[203] _Am. Daily Adv._, Feb. 3, 1791.

[204] _Am. Daily Adv._, Mar. 3, 1791.

[205] _Am. Daily Adv._, Mar. 17, 1791.

[206] _Am. Daily Adv._, Apr. 2, 1791.

[207] _Am. Daily Adv._, Aug. 30, 1791.

[208] _Am. Daily Adv._, May 17, 1791.

[209] _Am. Daily Adv._, May 25, 1791.

[210] _Am. Daily Adv._, Sept. 2, 1791.

[211] Sonneck, _Early Concert Life_, p. 87.

[212] _Am. Daily Adv._, Nov. 9, 1791.

[213] _Am. Daily Adv._, Nov. 19, 1791.

[214] _Am. Daily Adv._, Dec. 1, 1791.

[215] _Am. Daily Adv._, Dec. 15, 1791.

[216] _Am. Daily Adv._, Dec. 30, 1791.

[217] _Am. Daily Adv._, Jan. 12, 1792.

[218] _Am. Daily Adv._, Jan. 28, 1792.

[219] _Am. Daily Adv._, Feb. 11, 1792.

[220] _Am. Daily Adv._, Mar. 8, 1792.

[221] _Am. Daily Adv._, Mar. 31, 1792.

[222] For a full discussion of concert life Cf. Sonneck, (_Early Concert Life_), as well for French, English, and German influence.

[223] Cf. D. Spillane, _History of the Am. Pianoforte_, p. 99.

[224] Durang, _History of the Stage in Philadelphia_, chapter 15.

[225] Durang, _History of the Stage in Philadelphia_, chapter 19.

[226] Durang, _History of the Stage in Philadelphia_, chapter 19.

[227] Durang, chapter 19.

[228] Poulson’s _Daily Advertiser_, January 13, 1829.

[229] Wood, _Personal Recollections of the Stage_, p. 104.

[230] Sonneck, _Early Secular American Music_, p. 13.

[231] Cf. Sonneck, _Early Secular American Music_, p. 139.

[232] Durang, chapters 19 and 24.