[101] _Vide_ above, p. 17 ff. [102] _American Weekly Mercury_, March 4-13, 1728-9. [103] See above p. 18. [104] _German Pietists_, p. 412. [105] _German Pietists_, p. 418 (note). [106] _Justus Falckner_, p. 64 (note). [107] _Pa. Gaz._, July 2-9, 1730. [108] _Pa. Gaz._, June 15-22, 1738-9. [109] _Pa. Gaz._, Jan. 31, 1749. [110] _Pa. Journal_, Jan. 9, 1750. [111] _Pa. Jour._ and also _Pa. Gaz._, May 24, 1750. [112] _Pa. Gazette_, May 1, 1740. [113] _Pa. Gaz._, May 8, 1740. [114] _Penn. Mag. of Hist._, Vol. I, p. 416. [115] _Pa. Gaz._, July 12, 1744. [116] _Pa. Gaz._, March 21, 1749. [117] Madeira, _Annals of Music_, p. 29. [118] _Mittelberger’s Journey_, p. 114 ff. [119] Cf. above, p. 31. [120] Cf. above, p. 30. PART II Period of Progress, 1750-1783 CHAPTER IV. MUSIC TEACHERS. From the preceding chapters it will be evident that secular music was beginning to be a force in the life of the people although the religious music certainly in the first half of the 18th century was more prominent. From 1750 on, however, secular music gradually but surely replaces religious music to a great extent, and becomes to all intents and purposes the noticeable feature of the musical life of Philadelphia. The introduction of German concert music strange to say, evidently was not due to Germans, although the various German teachers of music may later have aided in popularizing the music of their native land. Too much credit cannot be given to the different music teachers from England, who inaugurated public concerts in Philadelphia, where the works of the greatest artists of Germany, England, and Italy were produced. As early as 1729[121] a music teacher appeared in Philadelphia, while in 1749[122] another member of the profession advertises for pupils. From now on this class of men increases, but there is noticeable lack of teachers with German names. The greater part of these men were English; a few French, Italians, and Germans being present also. In 1755 appears an unique advertisement showing that some of the German music teachers were not dependent upon music alone for a livelihood. “The subscriber proposes to open a school on Monday next, in the house where the late Mr. Quin[123] formerly dwelt, for the instruction of Gentlemen and Ladies, in the following accomplishments: “First, The French, Italian and German languages, in a method concise and easy. “Secondly, To play on the violin after the Italian manner, with a peculiar method of bowing and shifting in solo’s or concerto’s. “Thirdly, Drawing and miniature painting with colours, flowers, insects, etc.... Likewise to draw patterns for embroidery, or any kind of needle work.... “He has a variety of music, composed by the most eminent masters, for the violino solo, con cembalo et violoncello, to be disposed of on easy terms. John Matthias Kramer.”[124]