Harmonie Quartet Club.
Kreuznacher Sängerbund. W. Winter.
Liederkranz. Dr. Römermann.
Liedertafel. J. W. Jost.
Liedertafel d. D. F. Gemeinde. P. Jost.
Lotus Club. C. M. Schmitz.
La Lyre. F. M. A. Perrot.
Lyric Club. H. Keely.
Manayunk Choral Society. W. A. Newland.
Männerchor. E. Gastel.
Marburger Liedertafel. G. Fölker.
Mendelssohn Club. W. W. Gilchrist.
Mozart Harmonie.
Mozart Männerchor. J. G. Dickel.
Mozart Quartet Club.
Musical Fund Society. Dr. Dunglison, President.
Orchester der D. F. Gemeinde. C. Heinemann.
Orpheus Club. M. H. Cross.
Philadelphia Amateur Orchestra. J. Brophy.
Philadelphia Musical Association. L. Engelke.
Philadelphia Opera Verein. F. Wink.
Philharmonia Männerchor.
Quartet Club. H. Peters.
Rothmanner Gesangverein. H. Peters.
Sängerbund. C. Gärtner.
Schiller Liedertafel. J. Schaaf.
Schiller Quartet Club.
Schwabischer Liederkranz.
Schweitzer Männerchor. J. Brenner.
Southwark Liederkranz.
Southwark Sängerbund.
Teutonia Männerchor.
Teutonia Sangerbund. H. Peters.
Tischler Männerchor. J. Brenner.
Turner Gesang Section. J. W. Jost.
Union Sängerbund.
West Philadelphia Choral Society. W. W. Gilchrist.
West Philadelphia Harmonie. A. Faas.
West Philadelphia Männerchor.
Young Mannerchor. R. Gräner.
[ W. B. S. ]
PHILEMON ET BAUCIS. A not unfrequent subject for the musical stage both in France and Germany. It was set by Gounod to words by Barbier and Carré in 3 acts, and brought out at the Théatre Lyrique, Feb. 18, 1860.
[ G. ]
PHILHARMONIC SOCIETY. This society was founded in London in 1813 for the encouragement of orchestral and instrumental music. Messrs. J. B. Cramer, P. A. Corri, and W. Dance invited various professional friends to meet them on Sunday, Jan. 24, 1813, when a plan was formed which resulted in the establishment of a society with thirty members, afterwards increased to forty—seven of whom were made directors for the management of the concert—and an unlimited number of associates. The subscription for members was three guineas, and for associates two guineas each. Subscribers were admitted on the introduction of a member on paying four guineas, and resident families of any subscriber two guineas each.
The principal musicians in London readily joined, and gave their gratuitous services in the orchestra. The first series of eight concerts on Mondays, at irregular intervals, commenced on March 8, 1813, at the Argyll Rooms, Regent Street—'Leader, Mr. Salomon; at the pianoforte (in lieu of the conductor as at present), Mr. Clementi'—and was both financially and artistically successful.
The following is a list of the members during the first season: J. B. Cramer, P. A. Corri, W. Dance, M. Clementi, W. Ayrton, W. Shield, J. J. Graeff, H. R. Bishop, W. Blake, J. B. Salomon, C. Neate, R. Potter, Sir Geo. T. Smart, F. Cramer, T. Attwood, J. B. Viotti, — Hill, — Moralt, G. E. Griffin, J. Bartleman, W. Knyvett, Louis Berger, C. Ashley, R. Cooke, F. Yaniewicz, S. Webbe, jun., V. Novello, W. Horsley, W. Sherrington, A. Ashe. Among the associates, of whom at the outset there were 38, are found the names of Bridgetower, Mori, Naldi, Cipriani Potter, Spagnoletti, Samuel Wesley, and other eminent musicians.
The following have been the Treasurers of the society:—W. Ayrton (1813–14); W. Dance (1815); M. Clementi (1816–17); R. H. Potter (1818–19); T. Attwood (1820); W. Dance (1821–32); W. Sherrington (1833–35); W. Dance (1836–39); G. F. Anderson (1840–76); W. C. Macfarren (1877–80) [App. p.746 "to the list of treasurers add the name of Charles E. Stephens, who was elected on the secession of Walter C. Macfarren after the season of 1880. The office of treasurer has been honorary since the foundation of the Society, except in seasons 1836 to 1840, inclusive"]. The Secretaries have been H. Dance (1813); C. J. Ashley (1813–15); W. Watts (1815–47); G. W. Budd(1847–50); G. Hogarth (1850–64); Campbell Clarke (1864–66); Stanley Lucas (1866–80). [App. p.746 "Complete the list of secretaries as follows: Henry Hersee (1881–1884); Francesco Berger (1885). The office of secretary became honorary in 1883. The office of conductor was originally honorary, except in the case of some special engagements, and was performed by one or other of the directors. After the first three concerts in 1844, Mendelssohn was engaged for the remaining five, and, in 1845, Sir Henry Bishop for the whole series, but at the third concert he withdrew on the plea of illness, and Charles Lucas officiated in his stead; Moscheles was engaged for the remaining five concerts of the season."]
In the early days of the society two symphonies, two concertos, two quartets or quintets for string or wind instruments, with two or more vocal concerted pieces, constituted the evening's programme. Chamber instrumental music is now excluded, and other arrangements are made conforming to the exigencies of the age and the comfort of the subscribers.
In addition to the claims of our own countrymen, foreign non-resident musicians have from time to time been invited to direct the performances, often of works composed at the express request of the society, as Cherubino (March 13, 1815), Spohr (1820, 1843), Weber (1826), Mendelssohn (1829, 42, 44, 47), Hiller (1852), Wagner (1855), Gounod (1871). The intimate association of the Society with these great composers, as well as with Onslow and Beethoven, etc. etc., need only be mentioned to show the artistic recognition which this institution has received from music's greatest professors. A good idea of the popularity of the Society in 1820 may be formed from Spohr's account in his Autobiography. 'Notwithstanding the high price of admission, says he, the number of subscribers was so great that many hundreds who had inscribed their names could not obtain seats.'
The following summary of the principal new events of each season will be the best epitome of the earnest artistic work done by the Philharmonic Society. It will show how far the Society since its establishment may claim to have kept pace with the progress of music; how many masterpieces of the most different schools, since become classic, were first heard in England at a Philharmonic concert, and how many great players have there made their débût before an English audience. These claims to distinction are due to the discretion and energy of the Directors of the Society. Their post is an honorary one, involving much time and labour, and it is through their exertions that the Society has for so long maintained its position against continually increasing competition, and has on more than one occasion been rescued from pecuniary difficulty and placed again in a state of prosperity.
The list shows, with a few exceptions, only the fresh works brought forward and the first appearances of artists; the stock pieces of the répertoire, and the re-appearances of favourite players and singers being but rarely named.
In the programmes of the first season the works are but rarely specified.
