James Rivington, a prominent figure in 18th-century New York, played a significant role in shaping the city’s early music scene. While not directly associated with guitars in the modern sense, understanding Rivington’s contributions provides valuable insight into the historical context of music and instrument availability in New York during the colonial era. This article delves into Rivington’s activities as a bookseller and printer in New York, highlighting his influence on the dissemination of music and musical culture, and connecting it to the broader narrative of early musical instrument presence in the city.
James Rivington: A London Bookseller Establishes in New York
Arriving from London, James Rivington strategically established his business in New York, recognizing the burgeoning market for books and printed materials in the colonies. He positioned himself as a purveyor of British culture, even naming his shop “the only London Book Store,” emphasizing a direct link to the cultural and commercial center of the British Empire. This branding was crucial in attracting customers seeking the latest publications and trends from London, including musical materials. Rivington’s contemporary, Hugh Gaine, another printer, also adopted similar branding, claiming his shop to be the “Only Old London Book-Store and Printing Office,” highlighting the competitive environment and the importance of perceived London connections in the New York market.
Rivington’s business acumen extended to offering favorable terms to his customers, surpassing standard practices in the Anglo-American book trade. He provided discounts on bulk purchases and extended credit terms, making books and, importantly, musical publications more accessible to a wider audience in New York. This strategic approach helped him quickly establish a strong foothold in the market and outpace competitors in Philadelphia and Boston, solidifying his position as a leading bookseller and printer in New York.
Rivington’s Ventures into Music Publishing
Beyond general bookselling, James Rivington actively engaged with the music market in New York. He advertised a variety of musical items, including sheet music and musical instruments, catering to the growing demand for music in the city. While specific mentions of “guitar” are absent in the provided text, it’s important to understand that “musical instruments” in his advertisements likely encompassed a range of popular instruments of the time, which could have included early guitars or guitar-like instruments alongside other instruments like violins, flutes, and keyboard instruments. His advertisements placed in publications like the New York Mercury and New York Gazette demonstrate his consistent effort to promote and sell musical goods, indicating a significant aspect of his business in New York.
Rivington also published songsters, popular collections of songs that were widely circulated and enjoyed. In 1760, he published The American Mock Bird: Containing a Collection of the Most Favourite Songs Now in Vogue, showcasing his commitment to providing New Yorkers with access to contemporary songs. This publication, along with others, reveals Rivington’s role in shaping musical tastes and disseminating popular music within the New York community. His publications were part of a broader trend of music publishing in the colonies, meeting the increasing desire for musical entertainment and participation.
Competition and Political Turmoil
The competitive landscape of the printing and bookselling trade in New York is evident in the rivalry between Rivington and Hugh Gaine. Their competition extended to music publications as well. Following Rivington’s loyalist songbook, Gaine released his own Loyal and Humorous Songs. Gaine’s edition was noted for its variety and topicality, including songs directly addressing the political climate of the Revolution, even responding to Patriot propaganda. This musical competition reflects the broader political and ideological divisions of the era, with music becoming a medium for expressing and disseminating political viewpoints.
Rivington’s shift towards Loyalism during the American Revolution significantly impacted his business. Despite initially appearing neutral, Rivington became a staunch Loyalist, which alienated a substantial portion of the New York population as revolutionary sentiments grew. His newspaper, once a successful venture, ceased publication as the British military and Loyalists evacuated New York at the end of the war. Although Rivington remained in New York after the war, his business and reputation never recovered from his Loyalist stance. He faced financial decline in his later years, a stark contrast to his earlier affluence and influence in New York’s commercial and cultural life.
Rivington’s Legacy and the Evolving Music Scene
Despite the downturn in his fortunes, James Rivington’s early contributions to New York’s music scene are undeniable. He was instrumental in building a musical marketplace in the city, fostering the circulation of music and musical instruments. While his Loyalist affiliations tarnished his legacy and led to his business decline, his initial efforts paved the way for future generations of music publishers and booksellers in New York. By the 1790s, new figures like James Hewitt, Benjamin Carr, and George Gilfert emerged, building upon the foundations laid by Rivington and others, and further developing a domestic music publishing industry in the newly formed United States. The music scene in New York moved forward, evolving beyond Rivington’s era, but his early impact remains a significant chapter in the city’s musical history.
References
[1] Crary, Catherine Snell. “The Tory and the Spy: The Double Life of James Rivington” William and Mary Quarterly 16 no. 1 (Jan. 1959): 61-72.
[2] Humphries, Charles and William C. Smith. Music Publishing in the British Isles, From the Earliest Times to the Middle of the Nineteenth Century (London: Cassell and Company, 1954), 275; Schnapper, Edith B., ed. The British Union-Catalogue of Early Music Printed Before the Year 1801 (London: Butterworth’s Scientific Publications, 1957), 977.
[3] Botein, Stephen, “The Anglo-American Book Trade Before 1776: Personnel and Strategies,” and Stiverson, Cynthia and Gregory Stiverson, “The Colonial Retail Book trade: Availability and Affordability of Reading Material in Mid-Eighteenth-Century Virginia,” in Printing and Society in Early America, eds. William L. Joyce, David D. Hall, Richard D. Brown, and John B. Hench (Worcester, MA: American Antiquarian Society, 1983).
[4] Thomas, Isaiah. A History of Printing in America, 1815; Adelman, Joseph M. “Trans-Atlantic Migration and the Printing Trade in Revolutionary America,” Early American Studies 11 no. 3 (2013): 537; Pennsylvania Gazette, April 28, 1757; Boston Evening-Post, May 5, 1760.
[5] New York Mercury, October 6, 1760. New York Gazette, October 31, 1763.
[6] Mace, Nancy A. “Litigating the ‘Musical Magazine’: The Definition of British Music Copyright in the 1780s,” Book History 2 (1999): 122-145.
[7] Adelman, Joseph M. Revolutionary Networks: The Business and Politics of Printing the News, 1763-1789 (Baltimore: Johns Hopkins University Press, 2019), 39-41.
[8] New York Mercury, November 11, 1752, June 4, 1753, April 9, 1759, May 2, 1763; December 3, 1764; April 29, 1765; January 27, 1766; July 27, 1767. New-York Gazette, May 11, 1761; New-York Gazette, January 12, 1761; New-York Gazette, May 4, 1761.
[9] The American Mock Bird: Containing a Collection of the Most Favourite Songs Now in Vogue (New York: James Rivington, 1760), Evans 8528. New-York Mercury, March 16, 1761.
[10] New York Gazette & Weekly Post-Boy, February 26, 1761.
[11] New York Mercury, June 26, 1758; The American Mock-Bird, or Songster’s Delight. Being A choice Collection of entire new Songs, as they are now sung by the best Singers at all the publick Places of Diversion in England (New York: S. Brown, 1764), Evans 41428; New York Mercury, March 16, 1761.
[12] Royal Gazette (New York), February 19, 1780.
[13] Rivington’s New York Loyal Gazette, October 25 and November 22, 1777; Royal Gazette (New York), December 23, 1778.
[14] New York Gazette and Weekly Mercury, August 30, 1779, June 8, 1781.
[15] New York Gazette and Weekly Mercury, December 3, 1770, January 13, 1777, July 27, 1778, September 28, 1778, October 21, 1782.
[16] Rivington, James. “James Rivington, Bookseller, Printer, and Stationer, in New-York. Proposes to publish a Weekly News-Paper…” Broadside, (New York: James Rivington, February 15, 1773). Evans 12982.
[17] Royal Gazette (New York), October 24, 1778, December 23, 1778, January 29, 1780.
[18] Royal Gazette (New York), March, 6 and 10, April 14 and 21, 1779.
[19] Songs, Naval and Military (New York: James Rivington, 1779) Evans 16530.
[20] New York Gazette and Weekly Mercury, October 11, 1779.
[21] Loyal and Humorous Songs (New York: Hugh Gaine, 1779). Evans 16326.
[22] Van Buskirk, Judith. Generous Enemies: Patriots and Loyalists in Revolutionary New York (Philadelphia: University of Pennsylvania Press, 2002), 184-185; Crary, 71.
