Books › Pratt (ed.), Grove's Dictionary of Music and Musicians: American Supplement (1920) — the Squier, Juhan, Gemünder and Elias Howe entries, 1920 › scan 22
Scan 22
Pratt (ed.), Grove's Dictionary of Music and Musicians: American Supplement (1920) — the Squier, Juhan, Gemünder and Elias Howe entries, 1920
54 lines. Read by computer on 9 September 2026. Printed page 8. See the scan on archive.org.
1*Jacobi, John Owen, an organist brought from England in 1736 by Trinity Church, Newport, R. I., to play the organ given in 1733 by Bishop Berkeley.
3Johnston, Thomas (d. 1768?), in 1752 made an organ for Christ Church, Boston, and in 1754 one for St. Peter's, Salem. The latter in 1819 went to St. Michael's, Marblehead, and finally to Hook & Hastings, the organ-builders. See Brooks, pp. 50, 65–6.
5*Juhan [Joan], James, a Frenchman who was in Boston in 1768–70 and in Charleston in 1771 as teacher of French, music and dancing, besides tuning, repairing and making instruments. In 1783 he exhibited at Philadelphia his 'great North American Forte Piano.' Alexander Juhan (see sec. 2) was probably his son. See Sonneck, Concert-Life, pp. 123–4, 264–5.
7*Klemm, Johann Gottlob (Saxony, 1690–1762, Bethlehem, Pa.), an organ-maker who came to Philadelphia in 1736 and worked in New York in 1745–57. About 1740 he made the first American organ for Trinity Church, New York. See Sonneck, Concert-Life, p. 169, and references there.
9*Knoetchel, John Ernest (d. 1769), was organist of Trinity Church, Newport, R. I., and probably the father of another there in 1774.
11Lyon, James (Newark, 1735–1794, Machias, Me.), a contemporary of Hopkinson, wrote a graduation-ode at Princeton in 1759, and issued the tune-book Urania in 1761, containing some original pieces. See Sonneck, Hopkinson and Lyon, and Tune-Books.
13*Morris, Owen (1719–1809), an English actor-singer in Hallam's Company from 1759 and again after the Revolution. In 1792 he and his wife joined Wignell.
15*Pachelbel, Charles Theodore, a German in Boston who in 1733 helped erect the organ in Trinity Church, Newport, became organist there, and in 1736–37 gave concerts in New York and Charleston. See Sonneck, Concert-Life, pp. 13, 158, 317.
17*Pelham, Peter, Jr. (b. England, 1721), the son of an engraver and teacher in Boston and musically trained from boyhood (probably in England), set out as music-teacher in Boston in 1743. In 1768 he was harpsichordist for an operatic troupe in Virginia.
19*Propert, David, at first a music-teacher in New York, moved to Boston in 1770 and from 1771 was organist at Trinity Church. He organized concerts in 1773–74 and was still active in 1789.
21*Rice, John, an Englishman, from 1744 was organist at Trinity Church, New York, and from 1753 at Trinity Church, Boston. See Sonneck, Concert-Life, pp. 159, 169, 254.
23*Selby, William (England, 1738–1798, Boston), from 1771 an influential player and composer in Boston. See art.
25*Storer, Maria (d. 1795, Philadelphia), a talented English actress and singer, in 1768 came to New York with Hallam and had great popularity till 1794. In 1787 she married the singer and manager John Henry (d. 1795). Her sister Fanny was also a favorite. See Sonneck, Early Opera and Concert-Life.
27*Tuckey, William (England, 1708–1781, Philadelphia), from 1753 organist of Trinity Church, New York, and an enterprising promoter of musical interest. See art.
29*Valton, Peter, from 1764 organist at St. Philip's, Charleston, and for some years a prominent teacher, concert-giver and dealer in instruments, besides writing a set of harpsichord-sonatas. See Sonneck, Concert-Life, pp. 15–6, 21.
31*Wainwright, Miss, an excellent English actress-singer (probably a pupil of Dr. Arne) who appeared in Charleston and New York in 1765–69.
33*Woolls, Stephen (d. 1799), another fine English stage-singer (also one of Arne's pupils) who appeared frequently before and after the Revolution. See Sonneck, Early Opera and Concert-Life.
35*Yarnold, Benjamin, organist in Charleston, from 1753 at St. Philip's and from 1764 at St. Mary's.
37*Zimmerman, Matthias, of Philadelphia, in 1737 bequeathed an organ that he himself had made. This seems to antedate the one made by Klemm (see above), but the record is not quite clear. See Spillane, p. 47.
39Sonneck has found presumable references to plays in 1703 at Charleston and New York (Tony Aston), in 1718 at Williamsburg, Va., and in 1749 at Philadelphia, besides a possible concert in 1733 at New York. The earliest musical entertainments for which definite data are now at hand at various places are as follows:
411731 Boston — at Pelham's Great Room.
421732 Charleston — by John Salter.
431736 New York — by C. T. Pachelbel.
441744 Bethlehem — by the Collegium Musicum.1
451750 Philadelphia — by the Kean-Murray Company.
461751 Williamsburg — by the Kean-Murray Company.
471752 Annapolis — by the Kean-Murray Company.
481761 Newport — by the Douglass (Hallam) Company.
491762 Providence — by the Douglass (Hallam) Company.
501766 Savannah — by John Stevens, Jr.
511774 Princeton — by Hoar, of New York.
531 At the famous Moravian settlement at Bethlehem, Pa., in 1741, under the lead of Count Zinzendorf (1700–1760), singing and instruments were early prominent. In 1744 a society for cultivating music was formed, led by Rev. J. C. Pyrlaeus and later by J. E. Westmann, which was the forerunner of the present Bach Choir. The first spinet was imported in 1744, a small organ set up by Klemm in 1746 and a larger one in 1751, and trombones were introduced in 1754. See Walters, Bethlehem Bach Choir, pp. 9 ff.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.