Hier in Deuschland hat mir noch niemand etwas nachgedruckt; ich würde auch so gleich in den Zeitungen einen solchen Nachdrucker öffentlich als einen Betrüger erklärt haben, Dafür hält man hier durchgehends einen solchen Menschen, und das will Keiner wagen. Meine öffentliche Erlaubnis zu Ihrem Drucke und die neuen eingemischten Rondos würden ganz gewiss einen Nachdruck zu Ihrem Schaden abhalten.”[191] These letters merely show that Reinagle before coming to this country was a capable musician, was known as such by prominent musicians in Europe, and probably through his intimacy with Bach would have studied quite extensively the compositions of German musicians. It was in the year 1786 that Reinagle arrived in New York with the intention of settling. He inserted the following advertisement in the _New York Independent Journal_: “Mr. Reinagle, member of the Society of Musicians in London, gives lessons on the pianoforte, harpsichord and violin.”[192] Evidently he did not prosper according to his expectations in New York, since the same year he established himself in Philadelphia. He at once became identified with the musical life of this city, and in conjunction with H. Capron, W. Brown and A. Juhan, Reinagle continued the “City Concerts” instituted in 1783.[193] The first programme played in that year will give some idea of the taste of the people of that epoch. FIRST CONCERT, OCT. 19, 1786. ACT I. Favorite Symphonie Vanhall Song, Mr. Capron Gretrey Sonata, Piano Forte Haydn and Reinagle ACT II. Concerto Flute Windling A Favorite Ronde. Solo Violoncello Tilliere ACT. III. Concerto Violin Cramer New Symphony Haydn[194] Miscellaneous Concerto. It will be seen by this programme that German music had its share of importance, and in later concerts the compositions of Mozart, Haydn, Händel, Bach, Pleyel, Abel, Stamitz, Schmittbauer, Heimberger, etc., were given. Undoubtedly the high grade of these concerts and the predominance of the works of German composers, was due to the musical taste of Reinagle. It is not our intention here to give all the programs which were performed in Philadelphia during this period. Our intention is, however, to give new material which has hitherto not been published. The “City Concerts” Sonneck has traced through the year 1788, and then he adds that “apparently the City Concert was then discontinued as no further reference to it is made until the attempted revival in 1792.”[195]