The leaders of orchestras have also offered an almost insurmountable obstacle to the production of any work from an American hand until very recently. The Boston Symphony Orchestra has been a noble exception to this rule, and has given about the only opening possible to the native writer. The Chicago Orchestra, in eight seasons under Theodore Thomas, devoted, out of a total of 925 numbers, only eighteen, or something less than two per cent., to native music. Yet time shows a gradual improvement, and in 1899, out of twenty-seven orchestral numbers performed, three were by Americans, which makes a liberal tithe. The Boston Symphony has played the compositions of John Knowles Paine alone more than eighteen times, and those of George W. Chadwick the same number, while E.A. MacDowell and Arthur Foote each appeared on the programs fourteen times. The Kaltenborn Orchestra has made an active effort at the promulgation of our music, and especial honor is due to Frank Van der Stucken, himself a composer of marked abilities; he was among the first to give orchestral production to American works, and he was, perhaps, the very first to introduce American orchestral work abroad. Like his offices, in spirit and effect, have been the invaluable services of our most eminent pianist, Wm. H. Sherwood, who was for many years the only prominent performer of American piano compositions. Public singers also have been most unpatriotic in preferring endless repetition of dry foreign arias to fresh compositions from home. The little encore song, which generally appeared anonymously, was the opening wedge for the American lyrist. Upon the horizon of this gloom, however, there is a tremor of a dawning interest in national music. Large vocal societies are giving an increasing number of native part songs and cantatas; prizes are being awarded in various places, and composers find some financial encouragement for appearing in concerts of their own work. Manuscript societies are organized in many of the larger cities, and these clubs offer hearing to novelty. There have latterly appeared, from various publishers, special catalogues vaunting the large number of American composers represented on their lists.