[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. 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.