English family of publishers and musicians, active in the USA.
DAB (A. Elson)
W. Dunlap: A History of the American Theater (New York, 1832)
L.C. Madeira: Annals of Music in Philadelphia and History of the Musical Fund Society (Philadelphia, 1896)
O.G.T. Sonneck: A Bibliography of Early Secular American Music (Washington DC, 1905, rev. and enlarged by W.T. Upton, 2/1945/R)
O.G.T. Sonneck: Report on ‘The Star-Spangled Banner’, ‘Hail Columbia’, ‘America’, ‘Yankee Doodle’ (Washington DC, 1909/R, rev. and enlarged 2/1914/R)
V.L. Redway: ‘The Carrs, American Music Publishers’, MQ, xviii (1932), 150–77
W.A. Fisher: One Hundred and Fifty Years of Music Publishing in the United States (Boston, 1933)
J. Muller: The Star-Spangled Banner (New York, 1935)
R.A. Gerson: Music in Philadelphia (Philadelphia, 1940/R)
H. Dichter and E. Shapiro: Early American Sheet Music: its Lure and its Lore, 1768–1889 (New York, 1941; repr. with corrections, 1977, as Handbook of Early American Sheet Music, 1768–1889)
E. Shapiro: ‘What Price Music?’, Autograph Collector's Journal, iii (1950), 17–18
H. Dichter: ‘Benjamin Carr’s “Musical Journal”’, Music Journal, xv/1 (1957), 17, 60
D.W. Krummel: Philadelphia Music Engraving and Publishing, 1800–1820: a Study in Bibliography and Cultural History (diss., U. of Michigan, 1958)
L. Keefer: Baltimore's Music (Baltimore, 1962)
J. Mates: The American Musical Stage before 1800 (New Brunswick, NJ, 1962)
C.E. Wunderlich: A History and Bibliography of Early American Periodicals, 1782–1852 (diss., U. of Michigan, 1962)
I. Lowens: ‘Benjamin Carr's Federal Overture (1794)’, Music and Musicians in Early America (New York, 1964), 89–114
R.J. Wolfe: ‘Index of Publishers, Engravers and Printers’, ‘Publishers’ Plate and Publication Numbering Systems’, Secular Music in America, 1801–1825: a Bibliography, iii (New York, 1964), 1133–1200
H.E. Davis: ‘The Carrs: a Musical Family’, Pennsylvania Genealogical Magazine, xxiv (1965), 56–68
B.A. Wolverton: Keyboard Music and Musicians in the Colonies and United States of America before 1830 (diss., Indiana U., 1966)
R.L. Smith: The Church Music of Benjamin Carr (diss., Southwestern Baptist Theological Seminary, 1969) [with complete list of works]
C.A. Doran: The Influence of Raynor Taylor and Benjamin Carr on the Church Music in Philadelphia at the Beginning of the Nineteenth Century (diss., U. of Rochester, 1970)
C.A. Sprenkle: The Life and Works of Benjamin Carr (diss., Peabody Conservatory, 1970)
C.J. Lehman: Benjamin Carr: his Contribution to Early American Solo Vocal Literature (diss., U. of Iowa, 1975)
E.R. Meyer: ‘Benjamin Carr’s Musical Miscellany’, Notes, xxxiii (1976–7), 253–65
R.J. Wolfe: Early American Music Engraving and Printing: a History of Music Publishing in America from 1787 to 1825 (Urbana, IL, 1980)
J.B. Clark: The Dawning of American Keyboard Music (New York, 1988)
S.L. Porter: With an Air Debonair: Musical Theatre in America, 1785–1815 (Washington DC, 1991)
S. Siek: Musical Taste in Post-Revolutionary America as Seen through Carr’s Musical Journal for the Piano Forte (diss., U. of Cincinnati, 1991)
S. Siek: ‘Benjamin Carr’s Theatrical Career’, American Music, xi (1993), 158–84
STEPHEN SIEK (1, 2), R. ALLEN LOTT (3)
(b London, 1739; d Baltimore, 20 Oct 1819). Anglo-American music publisher. Descended from a long line of publisher-merchants, he was a highly skilled engraver who kept a shop in Holborn from about 1770 until his emigration to Baltimore in 1794, where he established a similar business. He formed a partnership with his son (2) Benjamin, who ran shops in both Philadelphia and New York, and they dominated the American music publishing industry until about 1800. The Carrs published European stage and instrumental works, but they also issued works by Alexander Reinagle, James Hewitt and other naturalized Americans. Much of their music was printed in serial format, such as the five-volume Musical Journal for the Piano Forte (1800–04), at the time the largest collection of secular music issued in America. On his death, Carr bequeathed the firm's holdings, which included over 2000 plates, to his younger son, (3) Thomas.
(b London, 12 Sept 1768; d Philadelphia, 24 May 1831). American composer, tenor, organist and publisher of English birth, son of (1) Joseph Carr. His uncle was Benjamin Carr (1731–80), who ran an instrument-making and repair shop in London for over 20 years. He studied the organ with Charles Wesley (ii) and composition with Samuel Arnold, and probably learnt engraving at his father's shop in London. After 1789 he assisted Arnold as harpsichordist and principal tenor for the Academy of Ancient Music, and his earliest known opera, Philander and Silvia, was performed at Sadler's Wells Theatre in October 1792. He emigrated to Philadelphia no later than July 1793 where he opened a music shop selling instruments and sheet music. From February to July 1794 he worked as a composer and arranger for Philadelphia's New Theatre, and he made his stage début in Philadelphia on 22 September with the Old American Company. He accompanied the Old Americans back to New York in December 1794, remaining active with them as both performer and composer until January 1797; from early 1795 until August 1797 he operated a New York shop similar to his Philadelphia enterprise. In late 1797 he returned permanently to Philadelphia, involving himself in so many aspects of the city's musical life that he became known as the ‘Father of Philadelphia Music’. A prominent teacher of singing and the piano, he also served as organist and choirmaster at St Augustine's Catholic Church (1801–31) and at St Peter's Episcopal Church (1816–31). In 1820 he was one of the principal founders of the Musical Fund Society of Philadelphia.
Carr's most famous orchestral work, the Federal Overture (1794), was composed for theatrical audiences, as were many of his 71 published songs, although only a few items survive from his largest opera, The Archers(1796). His setting of Scott's Hymn to the Virgin (1810) is generally considered the finest early American song. His piano music, which includes shorter sonatas, rondos and variation forms, was written largely for pedagogical purposes, although a few works are highly virtuoso. Among Carr's 85 sacred works, his Voluntary (?1801) has been praised as the most significant organ composition from early America. Carr collaborated with his father in numerous publishing ventures, including the Musical Journal(1800–04), which he edited. He also composed significant pedagogical works, such as Lessons and Exercises in Vocal Music (?1811) and The Analytical Instructor for the Piano Forte (1826).
printed works published in Philadelphia unless otherwise stated
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Philander and Silvia, or Love Crown'd at Last (pastoral op), London, Sadler's Wells, 16 Oct 1792 |
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The Caledonian Frolic (ballet), Philadelphia, New, 26 Feb 1794 |
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Irish Lili (ballet), Philadelphia, New, 9 July 1794 |
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Macbeth (incid music), New York, 14 Jan 1795 |
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Poor Jack (ballet), New York, 7 April 1795 |
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The Archers (op, W. Dunlap), New York, John Street, 18 April 1796; selections pubd, 1 song R in RRAM, xv (1986) |
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Arrs. of English ops with addl music by Carr, incl. S. Arnold: The Children in the Wood, Philadelphia, 24 Nov 1794; C. Dibdin: The Deserter, New York, 19 May 1795; Linn: Bourneville Castle, New York, 16 Jan 1797 [music by Arne]; Holcroft: The Spanish Barber, 1800; further opera arrs. and incid music |
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Vocal: 4 Ballads (W. Shakespeare, J.E. Harwood) (1794); 3 Ballads, op.2 (1799); 6 Ballads from … The Lady of the Lake (W. Scott), op.7 (1810; 3 R in RRAM, xv, 1986); Lessons and Exercises in Vocal Music, op.8 (Baltimore, ?1811); 4 Ballads from … Rokeby (Scott), op.10 (Baltimore, 1813; 3 R in RRAM, xv, 1986); The History of England, 1v, pf, op.11 (Baltimore, ?1814/R); Musical Bagatelles, 1v, pf, op.13 (c1820); [6] Canzonets, op.14 (1824; 3 R in RRAM, xv, 1986); numerous single songs |
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Inst (for pf unless otherwise stated): Federal Overture, 1794, pf score (1794; facs. 1957); 6 sonatas (1796; 1 R in RRAM, i, 1977); Dead March and Monody for General Washington, pf and vs (Baltimore, 1799/1800); 3 divertimentos, in Musical Journal for the Piano Forte, i (1800); Voluntary, org (?1801/R); The Siege of Tripoli: Historical Naval Sonata, op.4 (1804/R); Applicazione adolcita, op.6 (1809); 6 Progressive Sonatinas, pf, vn/fl ad lib, op.9 (Baltimore, ?1812); The Analytical Instructor, op.15 (1826); further single works, incl. marches, waltzes, variations, etc. |
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Musical Journal for the Piano Forte (1800–04/R) [pf music and songs]; Masses, Vespers, Litanies, Hymns, Psalms, Anthems & Motets (1805); Carr's Musical Miscellany in [86] Occasional Numbers (1812–25/R) [pf music and songs]; A Collection of Chants and Tunes for the Episcopal Churches of Philadelphia (1816); The Chorister (1820); Lyricks (1825); Le clavecin (1825); Sacred Airs, in 6 Numbers (1830) |
(b England, 1780; d Philadelphia, 15 April 1849). American publisher, composer and organist of English birth, son of (1) Joseph Carr. In 1794 he went with his parents to Baltimore, where he was associated with his father’s publishing firm and was organist of Christ Church (1798–1811). He was important as a composer and arranger of patriotic songs. In 1814, at the request of Francis Scott Key, he adapted the words of The Star-Spangled Banner to the tune To Anacreon in Heav’n, and in 1840 he wrote songs in support of the Whig cause and General Harrison, including Old Tippecanoe’s Raisin’. After his father’s death in 1819 he continued the publishing firm for three years, but then sold the catalogue to George Willig and John Cole and moved to Philadelphia, where he continued intermittently to publish and compose, and was also active as a teacher.