In Boston an Academy of Music was established by Lowell Mason in 1833. It had a large number of pupils, and there was an orchestra in connection with it, which gave several concerts. But the Harvard Musical Association, which was founded in 1837, seems to have been the chief propelling power to orchestral music in Boston, until the formation of the Boston Symphony Orchestra. In New York the Philharmonic Society was reorganized and was, as it has been ever since, the most prominent orchestral organization of that city. In 1848 two complete orchestras came to America, Gungl's, which gave a number of concerts, chiefly of light music, and the Germania, which consisted of a number of refugees from the German government. These men gave concerts of a finer type than had yet been given in America. Their career as an organization was not long, and it ended in disaster, but many of the members became prominent in musical matters in various cities, and in this way the Germania orchestra had a beneficial and lasting effect upon music in this country. In the forties began the stream of violin and piano virtuosi which has continued in ever-increasing volume to the present day. Ole Bull, violinist, in 1843, Vieuxtemps and Artôt, violinists, and Leopold von Meyer, pianist, in 1844, were the first. Perhaps the development of opera may be considered of greater interest than other musical items. In 1825 Manuel Garcia arrived in New York, and gave the first performances of Italian opera. In his company were his daughter Maria, who married one Malibran and remained in New York for about two years. At the end of this time she left her husband and returned to Europe, where she had a short but very brilliant career. Young Garcia, the son, who also sang, afterwards became one of the greatest singing teachers in Europe, and invented the laryngoscope. Pauline, who became Madame Viardot, and lived to a great age, was too young to participate in Garcia's performances in New York. For many years she was one of the great singing teachers in Paris. Garcia did not stay very long in New York, but he began the efforts to present Italian opera, which were continued by many others from time to time, usually with disaster. Nevertheless, the history of the period from 1825 to 1850 is full of first performances of Italian opera. In 1848 the Havana Company visited the United States, and was considered the finest company that had been heard until that time. In the same year Max Maretzek appeared in New York and at once entered the operatic field, with which he was prominently occupied during the next period.