Ohio History Journal

THE HAYDN SOCIETY OF CINCINNATI,

1819-1824*

 

BY HARRY R. STEVENS

 

When Theodore Thomas, the famous German orchestra con-

ductor, came to Cincinnati in 1869, he found the finest musical

center of inland America. The community he discovered here had

a long and rich musical background. Twenty years of German

musical activity had been preceded by more than half a century

of native growth. Near the beginning of this development was the

Haydn Society, one of the earliest musical groups in the West,

and for half a century the most significant. The story of that so-

ciety is a story of the hopes, the failures and the success of pioneer

men and women in creating a musical culture.

The traveler to Cincinnati who looks at the city today from

one of the surrounding hills is likely to see only a dark lake of

smoke. The traveler to the past, watching the smoke dissipate

under the morning sun, may see Cincinnati as it was in the spring

of 1819. Almost in the center of a green plain clustered the spires

of the new city. From one edge of the scene to the other curved

the bright Ohio River, its surface alive with small craft. A rim of

hills surrounded it all, and beyond the rim lay the gloomy forest.

As the traveler approached the city he might have observed

above the rooftops the dome of the court house and the "two

horns" of the great Presbyterian church. Warehouses and factories

lined the river side. For the rest, the buildings, almost two thousand

of them, were drab or unpainted and naked. The streets wanted

shade trees; and they were filled with bricks and straw, and piles

of new lumber. Blue-shirted mechanics sweated to meet the de-

mands of the growing town. At the public landing carts and drays

were piled high with river trade goods. Ever since the close of the

* Sources for this article are available in unique copies at the Cincinnati Public

Library and the Library of the Historical and Philosophical Society of Ohio. A fully

documented copy of the article is on deposit at the latter institution.

(95)

• 1
 

96    OHIO ARCHAEOLOGICAL AND HISTORICAL QUARTERLY

war in 1814 the city had been expanding in all directions, trans-

forming itself from a quiet country town into a breathless young

city.

The winter of 1819 was mild. Lilacs were blossoming in

February; and during the early spring a dozen young men of

Cincinnati decided to form a musical organization. Meeting on

Friday evening, April 9, 1819, they organized the Haydn Society

of Cincinnati to provide "rational amusement" for themselves,

and "to promote and diffuse a more correct taste for sacred music."

To these ends they planned "a reciprocal interchange of civilities

among the different religious sects as circumstances [might] direct

. . . not confining their influence to any particular denomination."

Why these men should come together at that time for that

purpose is hard to say. There had been other musical societies

in Cincinnati which may have set an example for them. The first

of these was the Harmonical Society, formed in 1810. With the aid

of various revivals it lasted until about 1823. It gave concerts oc-

casionally, played in the theater, and provided music for balls,

funerals and Fourth of July celebrations. The Cincinnati Euphoni-

cal Society held meetings in 1811-12; there was a St. Cecilia So-

ciety in 1815-16; and in the same week that the Haydn Society

was formed another group of a dozen or more men organized the

Episcopal Singing Society of Cincinnati. Except for the first of

these groups none was of any great importance; and the absence

of a vital musical society in this city of ten thousand inhabitants

may have been keenly felt.

Another possible explanation is to be found in European in-

fluences. A contemporary observer of the Haydn Society noticed

the presence in America of English singers such as Incldeon and

Philipps, who "seemed to give a new spring to the encouragement

of this science among our eastern neighbors," with the result that

"a greater attention is almost everywhere now paid in our coun-

try" to this "charming and exalted means of intellectual enjoy-

ment." Many years later someone thought it might have been the

depression, which began in 1819, that brought these people to-

gether, as a means of helping to forget their troubles and pass the

• 2
 

HAYDN SOCIETY OF CINCINNATI               97

 

unhappy time, but it is difficult to appreciate the motives of those

who are long since gone.

Without experience and with few examples to follow, the

founders of the Haydn Society had to create a formal organiza-

tion adequate to meet their special needs. Earlier musical societies

in the city had been satisfied with a secretary, or a president and

secretary and a committee elected by the members. They had

adopted by-laws and held regular meetings at a tavern or at the

home of some member. Public concerts had sometimes been given

and tickets sold or freely distributed. At least one group distin-

guished between regular and honorary membership. The Episcopal

Singing Society, more elaborate than the others, had a president,

vice-president, secretary, two leaders and a three member commit-

tee of selection and arrangement.

The Haydn Society started with a secretary and a leader and

arranger. Temporary committees, usually of three members, were

soon set up to manage the sale of tickets and other affairs of

various concerts. The secretary, the leader or director, and the

committees were retained as permanent offices. From the end of

1821 the society had an organist; and at least from August, 1822,

on there were presidents and vice-presidents. By 1823, when the

society had enough music to justify it they had a librarian. Officers

were elected, evidently in March and September, for six-month

terms.

Regular meetings were held weekly or every two weeks on

Sunday evenings at early candlelight. The place of meeting was at

different times the neat brick Episcopal Church on Sixth Street be-

tween Walnut and Vine, the Session Room of the great barn-like

First Presbyterian Church on the west side of Main Street be-

tween Fourth and Fifth, and the Western Museum, at corner

of Main and Second streets. Occasional business meetings were

held at the office or rooms of one of the members.

Eleven public concerts were given altogether by the Haydn

Society, besides an unknown number of private concerts. In the

fall of 1822 the society announced a plan of giving four oratorios

a year; but it gave only four public concerts during the remainder

of its existence. Tickets to the concerts were at first sold for one

• 3
 

98    OHIO ARCHAEOLOGICAL AND HISTORICAL QUARTERLY

 

dollar. In May, 1820, the price was reduced to fifty cents, and

there it remained. After April, 1822, a system of season tickets was

in use, admitting the holder to all oratorios, rehearsals and prac-

tice meetings of the society during one year for five dollars, with

tickets for two persons at eight dollars a year. The printing and

distribution of tickets was in charge of a Committee for the Con-

cert, or more usually a Committee of Arrangements. At times the

society cooperated with other groups for special events. It worked

with three church choirs in a concert on July 18, 1821, and with

the Cincinnati Band on July 4, 1822; while it also gave occasional

entertainment on July 4, 1821, July 4, 1822, and February 22, 1822.

Proceeds of the concerts were used in part to buy music and

books which became the property of the society (May, 1819, Oc-

tober, 1819, and April, 1822). Part also went to pay for candles,

ticket printing and other expenses; various parts for an organ for

the Episcopal Church, brought from the East; for another organ

built in Cincinnati by Luman Watson; and for the interdenomina-

tional Cincinnati Sunday School Society.

As the Haydn Society approached its end the structure was

somewhat simplified. The president, secretary, librarian and com-

mittee of arrangements were retained, but no more concerts were

given publicly. Meetings were changed from Sunday to Tuesday

evening, and from the churches to the Western Museum, while the

complex system of tickets and memberships seemingly reduced

itself to a simple order.

Throughout the five years or a little more that the Haydn

Society remained in existence it grew from an original member-

ship of twelve or fourteen to three times that number. The found-

ers were apparently all men; but before two months had passed

women appeared as members. At one time there were thirty-eight

or forty men and women in the society. How much the membership

varied is not known; but among the whole group nineteen partici-

pants may now be identified. Seldom has so high a proportion of

talent met in any musical group as this near score of names shows

for the Haydn Society of Cincinnati.

About half of the known members are mere names or shadows

who tell little either of the society or of themselves; yet they de-

• 4
 

HAYDN SOCIETY OF CINCINNATI               99

 

serve to be called on for the little they can tell about the general

membership. Nathan M. Whittemore, the first secretary of the

society, was a grocer from New Hampshire, and a manager of

the Western Navigation Bible and Tract Society. W. T. Howell,

the second secretary, is only a name, Edwin Mathews, another

early member, used to entertain the old Harmonical Society at his

home in 1814. His daughter, Martha, a singer and teacher, was

perhaps also a member. John Dillingham, secretary in 1822-23,

was also Recording Secretary of the Cincinnati Sunday School So-

ciety, and like Whittemore an official of the Western Navigation

Bible and Tract Society. The last secretary, David Churchill, a

young bachelor until 1825, was a sign-painter by trade, a Mason

and a Swedenborgian, who had already been secretary of the New

Jerusalem (Swedenborgian) Singing Society in 1822. Richard

Mulford, a bricklayer and plasterer from New Jersey, later be-

came a constable, a tax collector, and an officer in his Masonic

lodge. Elisha Hotchkiss was an attorney from Connecticut, subse-

quently elected a justice of the peace. James Whittaker, the or-

ganist in 1821-22, was, like Churchill, a Swedenborgian; and he

too served as organist for the New Jerusalem Singing Society in

1822. His musical background seems to have been somewhat fuller

than that of others named here.

Two more distinctly known as members were Thomas L.

Paine, the last known president of the society, and Elam P. Lang-

don. Paine was a wealthy pork merchant who came west from

Connecticut. In 1818 he was involved with the elder Nicholas

Longworth in a business controversy now obscure but sensational

in Cincinnati at the time. He was a member of the Presbyterian

Church, and secretary of the tract society. Langdon, a Methodist

from Vermont, appears in a more attractive light. He was an

officer in his Masonic lodge and for many years assistant post-

master. In a room at the rear of the post office on Third Street

he maintained the Cincinnati Reading Room, where Dennie's cele-

brated Philadelphia Port Folio and other magazines and news-

papers might be read, conversations enjoyed, and tickets purchased

for Haydn Society concerts. Such men as these one may suppose

made up most of the membership of the Haydn Society.

• 5
 

100   OHIO ARCHAEOLOGICAL AND HISTORICAL QUARTERLY

 

But a remaining quarter of the membership achieved remark-

able distinction locally or nationally. Charles W. Gazzam, one of

the last secretaries of the society, was a commission merchant from

Pennsylvania who rose high in banking circles in Cincinnati.

Charles Fox (1797-1884), a young Englishman, came to this city

from Lexington, Kentucky, as a carpenter and took a leading part

in musical affairs before making his reputation as one of the most

eminent judges on the local bench. W. G. W. Gano (1799-1872),

a Swedenborgian from New Jersey, worked as bank clerk, while

active both in the Haydn Society and in the Apollonian Society,

before he became one of the leading merchants in the Middle

West. Wood and ivory clock maker, organ builder, inventor, edu-

cator, successful business man and poet in gadgets was Luman

Watson, the first identified president (1823) of the Haydn Society.

Presidencies seemed to be his line, for he was also the first presi-

dent of the Episcopal Singing Society and the highest officer in his

Masonic lodge in 1819.

In 1822, a year before Watson became president of the Haydn

Society, there came to his clock shop on Seventh Street a strapping

youth of seventeen who had already worked as farm hand, tavern

boy and bill collector. In six years at Watson's shop he developed

astonishing ingenuity and skill as a craftsman. The boy was Hiram

Powers: in the next twenty years he was to become the most

famous sculptor of his generation. His "Greek Slave" and his

busts of Chief Justice Marshall, President Jackson and Senators

Calhoun and Webster are still well known. A brilliant conversa-

tionalist and a member of the tiny Swedenborgian Church, whose

musical and intellectual activities in Cincinnati are a perpetual

source of wonder, Powers himself may well have been a member

of the Haydn Society, though direct evidence is lacking.

At the same time that Powers began to work for Watson a

young Frenchman, Joseph Dorfeuille, came to Cincinnati. He en-

tered immediately into the cultural life of the city, joining the

Haydn Society, and becoming in 1823 the head of the Western

Museum. To the collection begun there by the eminent Dr. Daniel

Drake and already pricelessly enriched by the work of John J.

Audubon, one of the first curators, Dorfeuille added his own col-

• 6
 

HAYDN SOCIETY OF CINCINNATI              101

 

lection of Egyptian antiquities and birds. A year later, in May

1824, Dorfeuille married. As his fortunes had prospered he

brought the Haydn Society to the museum. A few years after this

from 1829 to 1834, he employed Powers himself in the waxworks

department of the museum. There the rapidly maturing artist dis-

covered his genius for modelling, and his clockwork mechanisms

for the "Chamber of Horrors" turned the Western Museum into

a highly profitable business for its owners.

Another Frenchman, one of the three foreigners among the

nineteen identifiable members of the Haydn Society, was Philibert

Ratel. M. and Mme. Ratel, natives of France, had lived in Phila-

delphia for six or seven years when they decided to move to Nash-

ville. On their way to Tennessee they stopped in Cincinnati early

in the summer of 1817, where Ratel led the orchestra in the theater.

Finding Cincinnati to their liking, they stayed there and soon

opened a dancing school. While Ratel made his living by teaching

music and dancing he became the first "leader" of the Haydn

Society. He remained one of the most active musical figures in

the city, and one of its few professional musicians.

Altogether different was Daniel Roe, a somewhat older man

than most of the others in the society. A merchant, originally from

New York, Roe lived in Lebanon, in the back country of Ohio,

where he married in 1807. Some time after this he came to Cin-

cinnati where he was an attorney in 1818, and a member of one of

the Masonic lodges. A Swedenborgian, he served at times as a

minister for the local society. Early in 1820 he was elected a

justice of the peace; shortly afterwards, in April, 1820, his second

wife died. His connection with the Haydn Society extended from

November, 1821, to March, 1823, or perhaps longer. In 1823 he

failed of reelection as a justice of the peace, but was appointed a

tax collector early in 1824. The next summer he married a third

time, but this third wife died in May, 1826, barely twenty months

later. Meanwhile Roe, who had first been a supporter of Henry

Clay in politics, became acquainted with the erratic and fascinat-

ing social reformer, Robert Owen. In 1824-25, Owen was busy

establishing his socialist utopia at New Harmony, Indiana, and his

visits to Cincinnati created a deep impression there. Roe was soon

• 7
 

102   OHIO ARCHAEOLOGICAL AND HISTORICAL QUARTERLY

 

associated with a communist experiment at Yellow Springs, Ohio,

and in 1826 and 1829 he lectured publicly in Cincinnati on social

philosophy and metaphysics.

Daniel Roe seems to have been a sort of godfather to the

most vigorous of all the men in the Haydn Society, young Sol

Smith. Though Smith is almost forgotten today he was the great

theatrical manager of the antebellum West and Southwest, and his

autobiography is still one of the most entertaining memoirs of

American life. The eighth of eleven sons of an upstate New York

veteran of the Revolutionary War, young Smith knew life in a

log cabin and hard poverty. He knew adventure, too, for in his

mid-teens he ran away from home to follow a theatrical troupe.

Soon afterwards he came to Cincinnati, where he worked as a

clerk in his brothers' store. In January, 1822, he married Martha

Therese Mathews, daughter of Edwin Mathews. Within a few

months, when he was just twenty-one, in August, 1822, Smith

started the Independent Press. It was one of the first newspapers

in Ohio to support Andrew Jackson for president. In 1823 he

became manager of the local theater; and all this time he threw

tremendous energy into the Haydn Society, the New Jerusalem

Singing Society and endless political scraps particularly involving

General William H. Harrison.

The only match for Sol Smith in his vast enthusiasm was

Josiah Warren, whose baffling personality still tempts the biog-

rapher. A near relative of General Joseph Warren, the hero of

Bunker Hill, Josiah was born about 1798 in Boston. He married

in 1817, and by March, 1820, this short, thick-set, blue-eyed

young man was in Cincinnati with his brother, George. Here he

performed the clarinet part in a Pleyel trio at the first chamber

music concert given in the city. Less than a year later he took

out a patent on a lard-burning lamp, and soon established a profit-

able lamp factory. Like Daniel Roe he was strangely drawn by

Robert Owen's utopia. He sold his lamp factory, and early in

1825 he joined the socialist colony at New Harmony, Indiana. The

regimented life of socialism, however, held no charm for this son

of revolution. In disgust, he returned to Cincinnati, and set about

developing the first American anarchistic philosophy. Not satis-

• 8
 

HAYDN SOCIETY OF CINCINNATI             103

fled with a system of thought, he carried it into practice with a

thoroughly successful "equity store," using certificates of labor-

time instead of money. This he continued from 1827 to 1829. In

1830 he invented a speed press, anticipating by two years the prin-

ciple patented in the Hoe press. He started a newspaper in 1833;

and during the succeeding years turned out one successful inven-

tion after another, dropping each old one as some new problem

interested him. Metaphysics and economics, musical notation and

stereotyping, and lectures to workingmen during the "hungry

'40's" took Warren from one activity to another. As an exponent

of anarchistic individualism in America Warren stands second only

to Thoreau; but his seething energy was just beginning to break

through when he took part in the Haydn Society of Cincinnati.

Not all of these men were members of the Haydn Society

when it was first organized. Some of them did not reach Cincin-

nati until two or three years later. Indeed, it is not sure whether

the name of a single founder of the society has been preserved,

but it seems altogether likely that during its existence the Haydn

Society must have derived its strength and character from such

men as those who have been described here, men who are known

to have been members at one time or another. Most of them were

young men and bachelors. Most of them were ambitious and

capable. Many of them achieved eminent positions in their chosen

work. Not one of them sought a career in music.

The annals of the Haydn Society of Cincinnati are brief and

simple. From one point of view they are uniformly unhappy; yet

it may be possible to see another side when the story has been

told.

The Haydn Society began its career full of enthusiasm. The

members met and planned a program. They elected officers, and

ordered music from the Lock Hospital in Baltimore and other

"celebrated collections," which was received in due time. Re-

hearsals were held, and a grand concert was announced. The last

rehearsal, an afternoon performance was favorably compared by

a critic with concerts in "New York, Philadelphia, and other large

towns."

Within six weeks of the organization of the society the first

• 9
 

104    OHIO ARCHAEOLOGICAL AND HISTORICAL QUARTERLY

public concert was given, Tuesday evening, May 25, 1819, in the

Episcopal Church on Sixth Street. The guests, a hundred or more,

presented their admission tickets at the door and entered the

church. The singers found their places by candlelight, and M.

Philibert Ratel took his position as leader of the orchestra.

The program was one of the most ambitious attempted in the

West:

Part I

Overture                                    Instrumental

Chorus, China                                                          T. Clarke

Grand Chorus, The Marvellous Works                     Joseph Haydn

.............. Jehovah Speaks                                        Holden

Chorus, Strike the Cymbals                                      Pucitta

Anthem, [Cheshunt ?] Our Lord is

Risen from the Dead                                Arnold

Chorus, Cranbrook                                                   T. Clarke

Part II

Overture                                    Instrumental

Chorus, Jabez' Prayer                                               Jarman

Overton                                                                   T. Clarke

Anthem, O praise the Lord                                      Meinecke

Poland                                                                     Husband

Chorus, New Years' Ode                                           T. Clarke

Hosanna Chorus                                         Gregor

Duett and Chorus, Hail Judea                                    G. F. Handel

 

The "overtures and symphonies" were "taken from the most

popular authors, with the exception of some original adaptations

arranged by Mr. Ratel, whose taste and judgment entitled him to

much applause."

A newspaper review published a week after the concert pro-

vides a more lively account of this performance than such reviews

generally do; and for this reason as well as for the value in illu-

minating the standards of musical criticism in the West at this time

it may be quoted in part.

Notwithstanding the intervention of some unexpected impediments, . . .

[the concert] was fully and fashionably attended. To those who have the

interests of musical refinement, and innocent pleasure, as well as the pros-

perity of the church, at heart, this honourable success in a first attempt

must be in an eminent degree acceptable. For ourselves, we view it as an

• 10
 

HAYDN SOCIETY OF CINCINNATI                     105

 

indication of better things to come. . . . The best evidence, however, that

the exhibition gave both delight and satisfaction, was the solemn stillness

and rivetted attention which prevailed among the spectators during the

whole representation. It is not our intention to enter upon a minute criti-

cism of the performance; as the task of judicious discrimination would be

attended with delicacy, and might possibly wound, though unintentionally,

the feelings of some individual concerned. Nor have we the right to expect

from the amateur that perfection which may be insisted on from the pro-

fessor. There were, at the same time, some deficiencies of a general char-

acter, the mention of which can give no offence, and may be of service,

perhaps, hereafter; we allude to the occasional disproportion which the in-

strumental bore to the vocal parts; and in some pieces a lack of strength

on the bass. A very little attention is only necessary to reform this at a

future period. The grand and intricate piece of Pucitta introducing the

song of triumph by David after his victory over Goliath, was executed

superlatively well; the female solos were sung with a melody and judg-

ment not inferior to any voice we have ever heard. The ladies, also, who

carried the solos and duets in Cheshunt, Meinecke's Anthem, and other in-

stances, acquitted themselves with deserved eclat. The little trifle from

Gregor at the close, produced quite an exhilirating effect, and was well

calculated to send the audience home satisfied with the divertisement and

themselves.

The concert netted $100, indicating an audience of over one

hundred, and very possibly of over two hundred. The proceeds

were appropriated at least in part to pay for an organ for the

Episcopal Church, which was ordered from the East.

Filled with hope the Haydn Society continued its meetings in

the fall, and planned to open its second season with another concert

in October. This time the object was to aid the Sunday Schools,

and to "raise a fund for enlarging the variety of music, to remain

the permanent fund of the society." The concert was given half

an hour earlier than before, at seven o'clock on Tuesday evening,

October 19, 1819. The place was again the Episcopal Church.

The overtures and symphonies were once more "adapted" by M.

Ratel, who led the orchestra; and the program, while repeating

some of the more popular items from the spring concert offered

some new selections:

• 11
 

106   OHIO ARCHAEOLOGICAL AND HISTORICAL QUARTERLY

 

Part I

Overture              Instrumental,                         J. Haydn

Hymn - Trio - The Lord's Prayer                                        J. Cole

Chorus - Hozanna                                                               [Gregor]

Duett and Chorus* - New Year's Ode                                   T. Clarke

Trio and Chorus - Thou sweet gliding Kedron

Solo and Grand Chorus* - The marv'lous works  J. Haydn

Solo, Trio and Chorus* - Song of rejoicing for

the conquest of Goliath                  Pucitta

Duett - Barren Fig Tree

Celebrated Fuge - Nations join in sacred song                      Shields

Finale                Instrumental,                           Pleyel

Part II

Overture              Instrumental,                        G. F. Handel

Hymn and Chorus* - Come hither all                                 B. Cuzens

Chorus - Not all the blood of beasts                                    Arnold

Duett and Chorus - Dialogue Hymn                                    [Burney]

Anthem.  For Festivals - Praise the Lord who

reigns above

Hymn* - Sweet to rejoice in heavenly hope                       T. Clarke

Full Anthem - O praise the Lord                                         Meinecke

Chorus Finale* - Jabez Prayer, 0 that the

Lord indeed                              Jarman

 

The starred items were chosen as the most popular. Notice

of the concert in advance advertised that the music "seems to be

selected from among the best composers." The reviewer already

quoted observed with pleasure that the society had followed his

advice on the balancing of parts. The overtures and symphonies

"adapted" and led by Ratel "were executed with all the taste and

animation of a public orchestra." The song of triumph by Pucitta

made the "strongest impression"; the young lady who carried the

solos was said to have few rivals in America; and Burney's hymn

was accorded "a degree of novelty." Favorable comments were also

passed on Gregor, Clarke, and Meinecke.

Although this concert was got up at considerable care and

expense, receipts fell far short of expenditures. "Whether in con-

sequence of the weather or some other circumstance" almost no

one came. Young Mr. Fox, who seems to have been in charge,

felt so discouraged over the attendance that he announced his

intention of leaving Cincinnati.

• 12
 

HAYDN SOCIETY OF CINCINNATI              107

 

On the chance that this might have been a pure accident and

with the hopeful situation that some who had held tickets to this

performance had not made use of them the society ventured to re-

peat the program (with some slight changes) at a third concert,

about a week later. This was again given at the Episcopal Church,

on Monday evening, November 1, 1819, at 7 p. m. Two or three

pieces were omitted, and a Hymn for Christmas was added in

the second part of the program. But it was to no avail. The audi-

ence was pitifully small.

The slender patronage at these two concerts led the society

to a "determination to discontinue public exhibitions." "The mem-

bers of this laudable association have been at much expense and

labour, under the conviction that their exertions would tend to

the edification of our citizens and contribute to the purpose of

benevolence," it was explained. "Their anticipations, however, it

seems, have proved fallacious and illusive." In fine, the society de-

termined to give no more public concerts.

The society maintained its existence during the winter of

1819-20 but completely disappeared from public view. A few

months later the desire to perform publicly seems to have out-

weighed caution and disappointment at last; and the brilliant ex-

ample of the concerts of Mr. Garner during March, 1820, may

have been an inspiration to hope for better support. Philibert

Ratel and Josiah Warren together with a "Full Band" assisted in

Garner's concerts of secular music at the Cincinnati Hotel, and the

results were highly successful.

Thus with good expectations the Haydn Society announced

its fourth Concert of Sacred Music, to be given Thursday evening,

May 4, 1820, at the Episcopal Church. The program shows a num-

ber of new works:

Part I

Overture             Instrumental,                          Haydn

Anthem - Mortals, awake, with angels join                                                        Clark

Sacred song - Were not the sinful Mary's tears                                                 Oliver Shaw

Anthem - O praise the Lord                                                                                    Meinecke

Sacred Song - There's nothing true but heaven                    Oliver Shaw

Anthem, - Welcome, welcome, mighty king                                                       G. F. Handel

Finale               Instrumental,                                                          Pleyel

• 13
 

108   OHIO ARCHAEOLOGICAL AND HISTORICAL QUARTERLY

 

Part II

Overture             Instrumental,  Haydn

Strike the Cymbals (song of rejoicing for the

conquest of Goliath by David)                                      Pucitta

Hymn - When I survey the wondrous Cross                        Bradbury

Duett - The bird let loose from western skies

(from Moore's Sacred Melodies)                                                                Oliver Shaw

Anthem - Not all the blood of beasts                                  Arnold

Anthem - Hail Judea, Happy land!                                      G. F. Handel

 

Whether or not the time was auspicious in March it was cer-

tainly not so in May. The depression that had already settled

down in the eastern states in 1819 reached the West with devastat-

ing effect by 1820. Like the two concerts of the preceding fall this

one did not bring enough receipts even to meet expenses. It is not

surprising that the Haydn Society completely disappeared from

sight during the third session of its existence, the year 1820-21.

During fourteen months, from May 4, 1820, to July, 1821, there

is not the slightest trace of it.

When next the Haydn Society came into view in what may

be called its fourth "season" it was on a more modest scale than

before. In the roomy First Presbyterian Church the Fourth of

July was celebrated in solemn manner; and on this occasion

"some appropriate odes and anthems sung ... in a manner highly

gratifying" marked the return of the society to public life.

That the society was not defunct during this period is amply

assured by their participation two weeks later in a concert that

established a new level of musical achievement in Cincinnati. Un-

der the direction of Charles Fox, carpenter and singing teacher,

the members of "three respectable Singing societies" as well as

several instrumental performers were assisted by members of the

Haydn Society of Cincinnati in a performance at the Episcopal

Church. The "respectable Singing societies" that participated were

those of the New Jerusalem, Second Presbyterian, and Vine Street

Methodist churches. The following program was given by them

at eight o'clock Wednesday evening, July 18, 1821:

• 14
 

HAYDN SOCIETY OF CINCINNATI                  109

 

Part I

Overture -- by full orchestra

Trio, Duett, Solo, and Chorus - 0 praise the Lord                Meinecke

Chorus - As Israel's people in despair                                  Stevenson

Duett - (from Moore's Sacred Melodics)                             Oliver Shaw

Quartette - Hark the vesper hymn is stealing                      G. F. Handel

Solo - Thou shalt break them in pieces                               G. F. Handel

Grand Chorus - Hallelujah, For the Lord God

Omnipotent reigneth                       G. F. Handel

Part II

Overture - (on the organ, by Mr. Whittaker)               G. F. Handel

Solo and Chorus - The marv'lous works                              Joseph Haydn

Sacred Song - There's nothing true but Heaven                   Oliver Shaw

Solo, Duett, and Chorus - The Star of Bethlehem               Oliver Shaw

Treble Solo - Behold I bring you glad tidings                       T. Hastings

Bass Solo - And suddenly there was an angel                       T. Hastings

Chorus - Glory to God in the highest                                  T. Hastings

Solo, Trio, and Chorus - Strike the Cymbal                         Pucitta.

 

The concert is interesting for several reasons. It included the

first public performances in Cincinnati of seven works, among

them  Handel's "Vesper Hymn," the "Hallelujah Chorus," and

"Comfort ye my people"; three works by the New England com-

poser, Oliver Shaw, and a "Hymn for Thanksgiving." It is in con-

nection with this concert too that Sol Smith's name is first linked

with the Haydn Society, though he may well have been an orig-

inal member. Finally, the sectarian bias which had caused so much

woe in the past was eliminated with the participation of Metho-

dists, Episcopalians, Presbyterians and Swedenborgians. Yet so

deep seemed the popular aversion now to sacred music that as an

Irishman observed from the street corner, that there was "a most

numerous and crowding audience outside of the house!" Public

indifference marked the return of the Haydn Society in Cincinnati,

as it had marked its departure a year before. This time the blow

might be fatal.

To suppose that public indifference could destroy the Haydn

Society would be to reckon without Sol Smith. During the fall

of 1821 this young bachelor (only twenty years old) was secretary

of the society, as well as president and leader of the New Jerusa-

• 15
 

110   OHIO ARCHAEOLOGICAL AND HISTORICAL QUARTERLY

 

lem Singing Society. He and his four brothers, together with Dan-

iel Roe were leading a powerful anticlerical movement within the

Swedenborgian congregation; and now for the first time the Haydn

Society and its activities came clearly into view. Here is Smith's

own account of the season:

"At Cincinnati, among my numerous relations and friends, I

spent a very happy winter.... I attended a series of law lectures,

performed the duties of clerk in one of my brothers' stores . . .

and played the organ in the New Jerusalem Church three times

every Sunday, and every Thursday evening, besides teaching a

whole lot of young New Jerusalemites the art of psalmody two

evenings each week."

From the beginning of November, 1821, if not earlier, regular

meetings were held every Sunday evening at early candlelight in

the Session Room of the First Presbyterian Church. Business

meetings on occasional Thursdays were held at the office of Dan-

iel Roe, who now, with Smith, first appeared in the society. Among

other members who are named now are Luman Watson, James

Whittaker and Charles Fox.

In mid-December, 1821, the citizens of Cincinnati and vicinity

were respectfully informed that a "Concert of Sacred Music"

would be performed by the Haydn Society of Cincinnati on Thurs-

day evening, December 20. The place of the concert was changed

to the Presbyterian Church, where the society had been holding its

meetings during the fall. Mr. Whittaker, another Swedenborgian

whose name was now first definitely associated with the Haydn

Society (though he was an organist in the city at least since Mr.

Sidebotham's Concert in December, 1820), accompanied the

"Songs and Duetts upon a fine toned Organ." The program,

selected "from the most celebrated American and European com-

posers" offered little that was new or distinctive:

• 16
 

HAYDN SOCIETY OF CINCINNATI                  111

 

Part I

Overture               Instrumental

Chorus - The Lord's Prayer                                                Cooke

Anthem - Although the Figg tree shall not blossom            Meinecke

Solo - Were not the sinful Mary's Tears                             Oliver Shaw

Anthem - Thou Child Divine Immanuel

Duett - All things fair and bright             Oliver Shaw

Grand Chorus - Hallelujah, for the Lord God

Omnipotent reigneth (from the Oratorio of

the Messiah)                               Handel

Part II

Overture               Instrumental

Chorus - Happy the Man prepared to reign                         Schultz

Duett - (from Moore's Sacred Melodies)                             Oliver Shaw

Grand Chorus - The Heavens are telling (from

Haydn's Oratorio of the Creation)                                                             Joseph Haydn

Anthem - O Praise the Lord                                                Meinecke

Solo - There's nothing true but Heaven                               Oliver Shaw

Anthem - Strike the Cymbal (song of rejoicing

for the conquest of Goliath by David)      Pucitta

 

Public response was no better to this program than to the

others. The society again added to its deficits, but it now had an

energetic leader, and it had a method for supporting and develop-

ing itself that rendered it more independent of public opinion.

Since the beginning of this season in November, 1821, the society

was made up of both "members" and "subscribers" who sometimes

met together. After the December concert the society met and

performed every alternate Sunday evening in the Session Room,

by candlelight, and the meetings were "attended by respectable

and select audiences." By February they had increased their mem-

bership to thirty-four, half of whom were delicately called "fe-

males." Business meetings were held on irregular Thursday eve-

nings at Daniel Roe's law office.

In agreeable manner the society took part in the celebration

of Washington's Birthday, February 22, 1822. In the morning they

joined in the services at the First Presbyterian Church. Later in

the day they performed "several airs" at the celebration in the

hotel.

During the winter the secretary wrote to the Haydn and Han-

• 17
 

112  OHIO ARCHAEOLOGICAL AND HISTORICAL QUARTERLY

 

del Society of Boston for music, and by spring they had imported

books and pieces of music from the East to the value of $100.

Among the items received in a collection of music from the Haydn

and Handel Society were an Oratorio by Joseph Haydn and two

songs by Oliver Shaw.

A story of certain authenticity casts a dubious shadow on the

state of musical appreciation in Cincinnati at this time. According

to a reporter who attended a rehearsal and practice meeting of the

society Sunday evening, April 7, 1822, they were performing

Handel's celebrated "Hailstone chorus" when "a violent storm of

hail, wind, thunder and lightning arose, which accorded completely

with the words and music of the chorus. The effect was beautiful

and grand in the extreme."

This work led up to the seventh concert, which was given

Monday evening, April 29, 1822, at the Episcopal Church. By this

time the society had increased its membership to thirty-eight. It had

hoped in February that this year it would be able to present

Haydn's Oratorio, The Creation. Ever since the December concert

it had been meeting regularly every other week, although in the

two months preceding the December concert it had met weekly.

What happened at the April concert is not known, but further

meetings were held during May and June. On July 4, the society

aided in the celebration at the Presbyterian Church in the morn-

ing. Later in the day the society sang several odes, accompanied

by the Cincinnati Band, which Mr. Josiah Warren conducted.

Mr. Warren, Mr. Whittaker and several other amateurs generously

volunteered their services on the occasion.

From the first Sunday in August, bi-monthly meetings were

resumed, sometimes in the afternoon, later on in the early evening.

Just after the middle of September, 1822, the meeting place was

changed from the Presbyterian to the Episcopal Church, where it

remained from this time almost until the end of the society's ex-

istence. From the date of this change too they began to meet every

week.

Now indeed the Haydn Society seemed to be on the road to

success. Money was again sent to Boston to buy more music. The

Episcopal Church was altered at great expense and an organ was

• 18
 

HAYDN SOCIETY OF CINCINNATI             113

conditionally purchased from Luman Watson. Season tickets were

sold, and a determined effort was made to rouse public interest.

In October a plan was announced of giving four oratorios a year.

Early in November the society announced its intention of pro-

ducing a select oratorio the following month, and gave notice that

no spectators could be admitted to rehearsals except those with

season tickets. As the time for the concert approached the society

began to meet twice a week, on Wednesday or Friday, in addition

to Sunday evenings.

The fall of 1822 was particularly rich in concert offerings in

Cincinnati. In September, a Mr. and Mrs. Smith gave a concert

of singing and dancing at the Cincinnati Theater. Both of them

were tipsy. A second concert they promised never took place, for

the landlord at the hotel refused to let them have a room, and

thus they clowned out of the picture. Early in November, Mr. and

Mrs. Lewis and their five little angels arrived in Cincinnati from

the East, and gave nine or more concerts, apparently meeting with

a warm welcome. Their concert programs included a "Grand Over-

ture" by Mozart (the first one performed in Cincinnati), "Robin

Adair," "Tweed Side," "Circassian Rondo," and the ever-popular

"Battle of Prague," as well as the flattering tale of "Blue-Eyed

Mary Hope" and Del Caro's "Hornpipe." Crowded audiences at-

tended all their concerts. Their most popular work was the "Battle

of Prague," with its imitations of the "groans of the dying, on

the Violin." On Sunday evening, November 10, 1822, Mr. Lewis

took the lead at the regular meeting of the Haydn Society in the

Episcopal Church, to the great delight of the members. After sev-

eral more concerts the Lewis family left on the down-river boat

the following Sunday evening.

Just before the middle of December, Sol Smith was replaced

as secretary by John Dillingham. Smith continued to give the so-

ciety the full support of his Independent Press, the newspaper he

established four months earlier. Luman Watson's organ was built

and installed in the Episcopal Church, and the orchestra was en-

larged for the concert.

At six thirty o'clock Thursday evening, December 19, 1822,

the "Select Oratorio" was begun. Mr. Whittaker, at the new organ,

• 19
 

114    OHIO ARCHAEOLOGICAL AND HISTORICAL QUARTERLY

 

was assisted by Joseph Dorfeuille, whose entry into Cincinnati

cultural life, dates from this concert. The program offered a con-

siderable number of new composers and works:

 

Part I

Overture             Full Orchestra

Anthem - Our Father who art in Heaven                                                             Denman

Recitative - Father, Thy word is past                                                                   Mathew P. King

Air - I, for His sake                                                                                                    Mathew P. King

Recitative - But He shall rise victorious                                                            Mathew P. King

Chorus - The multitude of angels                                                                          Mathew P. King

Song - Star of the North, thy radiant light                                                         Oliver Shaw

Anthem - When winds breathe soft                                                                      Webbe

Double Chorus - He gave them Hailstones for

rain (from Israel in Egypt)               G. F. Handel

 

Part II

Voluntary on the Organ                    J. Marsh

Air and Chorus - Hark! the vesper hymn is

stealing                                  G. F. Handel

Chorus - They play'd in air the trembling music

float                                                                                                                     Stephenson

Duett - There is a stream whose gentle flow                                                       Trajetta

Chorus - The saffron tints of morn appear                                                            Mozart

Air - Rejoice, 0 Judah!                                                                                              G. F. Handel

Chorus - Hallelujah, Amen                                                                                     G. F. Handel

 

The weather was bad; or at any rate that worn apology was

offered. The program was at least more novel than those pre-

viously given. The admission price was low. It was said that espe-

cially few "females" attended. With its usual indomitable courage

the Haydn Society repeated its full concert the following Friday

evening, December 27, 1822. The public which turned out for the

first of these concerts was actually less than half the number of the

performers, a simple score of auditors occupying the pews. It re-

sponded to the repetition so feebly that the society found receipts

eight dollars short of its expenses.

With a determination at which one can only marvel today the

Haydn Society persisted in its work. Exactly a month later it per-

formed a tenth "Sacred Concert" on January 27, 1823. For this oc-

casion compositions by Handel, Madan, Luther and Shaw were

• 20
 

HAYDN SOCIETY OF CINCINNATI                   115

 

given. The season ticket system was still in use, but season tickets

were not accepted at the door. They had to be exchanged for

tickets for the concert.

The society had pamphlets printed with the words of the con-

cert, which were distributed in the church. The newspapers of-

fered such favorable publicity as this notice:

The selection of pieces of music for the entertainment is a good one,

and will no doubt be very satisfactory to those who may attend. This

respectable association has done much toward the improvement of sacred

music. Whoever will contrast, for a moment, the state of church music,

previous to the foundation of the Haydn Society, with its present highly

improved condition, cannot but admit that the association have just claims

on society--and that it should be fostered by a community for whose

pleasure and benefit its labours have been expended. Or will the public

rather, by withholding their patronage from the concerts, penalize its

exertions and prevent the successful and scientific cultivation of a science

which adds so much solemnity to our religious devotions?

The public gave their answer. They rejected the claim. Such

compliments as this were small comfort when the receipts were

added up and found to total $9.25 for the concert.

A sympathizer alternately chastised and reproached the public

two weeks later:

The city of Cincinnati is already so celebrated for the failure of

everything of public utility, that to produce the HAYDN SOCIETY as a

new instance, is a circumstance, as disagreeable to the writer as it is dis-

graceful to our citizens. Those projects that have failed from want of

money, their own impracticability, or the partial operation of their benefits,

do not in their fall evince a want of public spirit or refined taste, in the

inhabitants generally; but the fall of this Society, is an unexceptionable

evidence of our total indifference to every thing that characterizes a polished

city. . . . I understand a dissolution of the society is in contemplation; and

should it take place, it may reasonably be supposed that most of our

citizens are still the "hunters of the backwoods," and that the few who

pretend to be in any degree polished, are incapable of appreciating the

value of music, when it is carried beyond the powers of a tambourine or a

hand-organ.

Secretary Dillingham stepped out of the picture. Old Mr.

Roe and the president, Luman Watson took active charge of af-

fairs. The society continued to hold its Sunday meetings every

week at the Episcopal Church throughout the rest of the winter.

• 21
 

116    OHIO ARCHAEOLOGICAL AND HISTORICAL QUARTERLY

 

At some time in March the celebrated English musician, Mr.

Philipps, who had now reached the West, sang at one of their

oratorios, but as this was not a public concert, and not generally

known, it is impossible to give the date or the program.

While the Haydn Society continued on its private way Cin-

cinnati enjoyed the fullest concert season in its history up to

that time. In addition to the three public oratorios of the society

and ten other concerts already mentioned, seven more were to

come, rounding out the season from September, 1822, to July,

1823, with an even score. Mr. and Miss Clark, the Lilliputian

songsters, gave two concerts. Mrs. McBride and her charming

daughter, who had been concertising in Pennsylvania and Mary-

land, recited and sang twice; but no one came and they left Cin-

cinnati with heavy hearts. The newly organized Euterpeian So-

ciety gave its first three public concerts in February, May, and

July, 1823. Their procedure moved a friend of the Haydn Society

to suggest that the latter reserve their melody for the next world.

or else follow the plan of the Euterpeian Society and sell no tickets

but try to pick up a few shillings at the door to pay for candles.

From the election of officers on March 20, 1823, until the

last meeting of the season on June 25, meetings seem to have been

held twice a month with fair regularity, but the change in officers

suggests some degree of instability. When D. Churchill became

secretary, seemingly at some time in April, the society was once

more in capable hands. Mr. Churchill remained secretary for an-

other full twelve months, the longest term since Sol Smith held

the office from November, 1821, to December, 1822.

With the coming of summer, meetings evidently stopped.

There were two business meetings, on August 20 and September

20. Early in August a call was issued to members having books

belonging to the society to return them to the librarian.

On the occasion of the Fourth of July, when an invitation was

issued to the society to assist in the celebration, the society de-

clined. Then finding themselves charged with selfishness and an

unwillingness to perform unless paid for their troubles, they set

up a special committee to explain their attitude. This committee

issued a long public statement, in which they said "a principle of

• 22
 

HAYDN SOCIETY OF CINCINNATI              117

 

self respect requires them to abstain from appearing before the

public." They "exempt from this censure" only "a few individ-

uals."

From the last Sunday in September, 1823, the Haydn Society

started on what seems to have been its last season. It held meet-

ings every Sunday evening at the Episcopal Church for seven

weeks or longer. Meanwhile another full concert season was de-

veloping, with two concerts by Mr. O'Neal at the Clement's Ball

Room and the Marine Coffee House, one by James Everdell at

the theater, and a fourth concert by the Euterpeian Society.

Finally Professor Muscarelli "From Italy" gave two concerts.

Muscarelli's programs included "Auld Lang Syne" with new vari-

ations, a "Symphony--Full Band," the first symphony ever given

in Cincinnati, a violin solo entitled "Imitations of the chirping and

warbling of birds," and a final item, "an imitation of Dogs and

Cats."

Before Muscarelli left Cincinnati the popular Lewis family

arrived again, with their five children. "A more angelic little

band could not possibly be collected . . . this side of Heaven."

They gave five concerts or more. During their stay, on Tuesday

evening, November 11, 1823, Mr. Lewis and his family assisted

at the Episcopal Church in another concert of the Haydn Society.

This was the eleventh and last public concert given by the

Haydn Society. The program differed radically in some respects

from all previous ones. It included the Overture to Lodoiska

[by Kreutzer?] and a Grand Overture by Martini. The latter

work, the first performance of a composition by Martini in Cin-

cinnati was played by two performers on the organ at the same

time, and a number of other instrumentalists. It was advertised

that "the entertainment will doubtless be excellent beyond any-

thing we have before had in this city."

The shock of breaking with its "sacred" tradition may have

been more than the Haydn Society could survive, however strong

it was in defying public taste. After a brief interruption the so-

ciety finally appeared in December, 1823, holding its meetings

??n one of the rooms of the Western Museum. The two museums

of Cincinnati were at this time "becoming fashionable resorts for

• 23
 

118   OHIO ARCHEOLOGICAL AND HISTORICAL QUARTERLY

 

evening parties. During the winter season, there are lectures de-

livered in each, once or twice a week, upon Literary and Scientific

subjects, which are generally well attended." After the old Har-

monical Society met at the Marine Coffee House in December,

1822, it came to the Western Museum to hold its last meetings in

the Lecture Room in January, 1823.

There, surrounded by a thousand fossils and three thousand

coins and medals, the tattooed head of a New Zealand chief and

a transparency of the Battle of New Orleans, perhaps in the midst

of Dorfeuille's Egyptian antiquities one may imagine the Haydn

Society gently drawing its last breaths. It was in peaceful sur-

roundings, its good friends about it, and undistressed by the in-

different public or the rival claims of bitter religious sects. It sur-

vived its fifth birthday in April, 1824, and entered on the sixth

year of its existence. Then toward the end of the month it quietly

passed out of sight. Its last public notice was a meeting on April

25, 1824.

The passing of the Haydn Society left the way clear for a

group of younger organizations, all of which seem to have been

inspired by it or modelled on it. The New Jerusalem Singing So-

ciety, organized November 25, 1820, lasted until 1830. The

Euterpeian Society survived from January, 1823, until June, 1825;

and the Apollonian Society, which began in the fall of 1823 was

still in existence in 1831. A few years later a Beethoven Society

existed in Cincinnati in 1828.

Numerous editions of the Kentucky Harmony, Missouri Har-

mony and other sacred music books enabled the churches to im-

prove their choirs and the level of congregational singing. Before

the formation of the Haydn Society, church music in Cincinnati

had been on an appallingly low plane. A few years after it passed

from the scene, it was apparent that the foundations of Cin-

cinnati's musical culture for the next half century were to be

found in its excellent church choirs. The amazing talent and

energy in the Haydn Society was dispersed as one man went into

theatrical production, another into banking, a third into social re-

form, and a fourth into law, each to achieve distinction in his

own way outside the field of music. But the impetus they had given

• 24
 

HAYDN SOCIETY OF CINCINNATI              119

 

to music in Cincinnati, however intangible at the time, however

slow to take effect, had, nevertheless, furnished the religious sing-

ing groups of the city more than an ideal and an example of

courageous persistence. The great triumphs of choral music in

Cincinnati which were to come after 1850 were all planted firmly

in the little choirs of many churches. Their initial momentum

was supplied by the Haydn Society, through its policy of gathering

voices from various churches, giving them training, practice, and

discipline, infusing them with the spirit and enthusiasm of this

remarkable group of leaders, and sending them back to their

churches to carry on the work.

• 25