Scan 22
Grove's Dictionary of Music and Musicians, American Supplement, 1928
50 lines. Read by computer on 11 September 2026. Printed page 10. See the scan on archive.org.
1successively there and in Alexandria, Baltimore, Philadelphia and New York, settling in 1812 in Boston as organist in turn at Brattle Street, King's, Trinity and St. John's. He promoted choral concerts and published some church-music. See Tune-Books.
3*Juhan (Joan), Alexander, a French violinist (perhaps son of James Juhan named in sec. 1) who was an able concert-player in Philadelphia from 1783 or '86.
5*Kenna, J., and his wife, English actor-singers who from 1788 gave plays in the South and at Philadelphia with a troupe for a time known as the New Americans.
7Law, Andrew (Cheshire, Conn., 1748–1821, Cheshire), one of the pioneers in psalmody and from 1778 indefatigable as teacher and compiler. See Tune-Books.
9*Mallet, Francis, a Frenchman who probably came to America in 1777. After varied concertizing he settled in Boston not later than 1793. He was singer, organist, player on other instruments, teacher and publisher. Two daughters became well-known musicians at Salem. See Sonneck, Concert-Life, p. 291, etc., and Brooks, pp. 165–7, 226, 248, etc.
11*Marshall, Mr. and Mrs., able and popular English singers and actors who appeared variously from 1793. Marshall returned to England in 1801, and his wife later became Mrs. Wilmoth.
13*Moller, John Christopher, presumably a German (works of J. C. Möller are listed by Eitner), from 1790 was active at New York and Philadelphia as pianist, organist, violist and harmonica-player. His daughter was also singer and pianist.
15*Oldmixon, Mrs., née George (England, 1768–?, Philadelphia), a highly gifted soprano who, after brilliant success in England, somewhat in rivalry with Mrs. Billington, came to America in 1793 as the leading artist of the period. She finally settled in Philadelphia, opening a girls' school. Her husband, whom she married about 1790, was Sir John Oldmixon, well known in London smart society.
17*Pelissier, Victor, a French hornist who from 1792 was not only popular as player, but skillful in composing and arranging accompaniments or incidental music for at least 18 plays in New York, mostly in 1794–96. See Sonneck, 'Early American Operas,' I. M. G. Sammelbde. 6. 475.
19*Petit, a French violinist who from 1793 played much in concert in both the North and the South.
21*Phile, Philip, a violinist who from 1784 was often heard in New York and Philadelphia. He may have composed 'The President's March' in 1789 to which in 1798 'Hail, Columbia' was fitted by Joseph Hopkinson (1770–1842). See Sonneck, Reports on 'Hail, Columbia,' 'Yankee Doodle,' etc., and Elson, American Music, pp. 147–53.
23*Pownall, Mrs. (d. 1796, Charleston), a superior English actress and singer (earlier known as Mrs. Wrighten — see Vol. v. 570 — and a Vauxhall favorite from about 1770), in 1792 came to Boston and at once became popular there and elsewhere. See Sonneck, Concert-Life, p. 36, etc.
25*Priest, William, an English bassoonist and trumpeter who from 1793 was heard in concert and opera. He published Travels in the United States, 1793–97, London, 1802. See Sonneck, Concert-Life, p. 156, etc., and Early Opera, the latter showing him still active in 1799.
27*Rausch, Frederick, from 1793 a pianist in New York, and in 1799 vice-president of the St. Cecilia Society.
29Read, Daniel (Rehoboth, Mass., 1757–1836, New Haven), by trade a comb-maker or ivory-worker, was from 1785 an industrious contributor to psalmody. See Tune-Books.
31*Reinagle, Alexander (England, 1756–1809, Baltimore), from 1786 the leading musician of Philadelphia, as well as prominent in New York. See Vol. iv. 57, and art.
33*Saliment, George Edward, a flutist much in evidence in New York concerts in 1791–1800.
35*Schaffer [Scheffer], Francis C., from 1796 a clarinettist in Boston. He also claimed to have invented the 'spiccato,' the nature of which is not clear.
37*Schetky, George (d. 1831, Philadelphia), a Scot, nephew of Reinagle, who in 1787 came to Philadelphia and, but for short visits to England, remained identified with musical interests there. He was a good 'cellist, singer and arranger. He was intimate with Carr and J. C. Taws, and joined with them in starting the Musical Fund Society in 1820. See Madeira, Music in Philadelphia.
39*Stone, a flutist, oboist and clarinettist who flourished in Boston from 1793.
41*Sully, Mrs., an English pianist often heard from 1794. She and her husband and daughter were also actor-singers.
43Swan, Timothy (Worcester, Mass., 1758–1842, Northfield, Mass.), began teaching psalmody about 1775 and from 1785 published tune-collections (see Tune-Books). Elson, American Music, p. 22, places his birth in 1757 at Suffield, Conn.
45*Taws, Charles (d. 1833?, Philadelphia), a Scottish piano-maker who in 1786 came to New York and in 1788 went to Philadelphia, where he began making pianos before 1795, was associated with Reinagle and, with his sons, held in much esteem. See Spillane, pp. 78–80.
47*Taylor, Raynor (England, 1747–1825, Philadelphia), a gifted singer, organist and composer, from 1793 influential in Philadelphia. See art.
49Thomas, Isaiah (Boston, 1749–1831, Worcester), early noted as printer, editor and publisher, first at Boston and from 1775 at Worcester. In 1785 he advertised music-printing from type (see Fisher, Music in Old Boston, p. 14), and in 1786 issued the successful Worcester Collection (see Tune-Books). From
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