[247] Cf. _Letters of Administration, Book K_, No. 156, p. 178 in office of Recorder of Wills, City Hall, Philadelphia. [248] _Pa. Packet_, Mar. 6, 1784. [249] Durang, _History of the Stage in Phila._, Chapter 12, [A rare book]. [250] Sonneck, _Early Secular American Music_, p. 189. [251] _N. Y. Packet_, Jul. 13, 1786. [252] _Pa. Packet_, Jan. 13, 1787. [253] See Above, Note to 72. [254] Sonneck, _Article_ in Sammelbände (1901), p. 156. [255] _Baltimore Clipper_, 1841. [256] G. W. Custis, _Recollections and Private Memoirs of Washing._ p. 368. Also _Diary of Geo. Wash._ 1789-1791, (ed. B. J. Lossing, 1860), p. 56. [257] _Sammelbände der Internationalen Musikgesellschaft_, 1901. [258] Many writers have expressed an opinion, but evidently their information consisted of a knowledge of only _one claim_. [259] Cf. Sonneck, _Early Sec. Am. Music_ for these compositions. [260] _Am. Daily Adv._, May 25, 1791. [261] _Am. Daily Adv._, Sept. 2, 1791. CONCLUSION. We have tried to show the gradual growth of musical taste in Philadelphia, especially the taste for German music. As before mentioned this taste was undoubtedly stimulated mostly by the English musicians, at least until the last period. In that period the English, and German musicians, seem to have worked in conjunction to keep up the standard set by their predecessors. It must not be thought that German music alone ruled in Philadelphia. During the French Revolution, especially, many refugees arrived in Philadelphia and concerts of French music were given and great enthusiasm was aroused among the American citizens. However, on looking over the whole century, German music seems to predominate over the music of other nations in Philadelphia. Musical taste in Philadelphia after the Revolution will compare favorably with the taste shown in Europe at the same period. APPENDIX. WORKS OF ALEXANDER REINAGLE. Unless otherwise noted this list has been taken from O. G. Sonneck’s “_Early Secular American Music_.” They are given here according to date of production. 1787. 1. Overture. 2. “A Select Collection of the most favorite Scots tunes. With variations for the pianoforte or harpsichord.” 3. A song (newly composed). 1788. 4. “_Federal March_, as performed in the grand procession in Philadelphia, the 4th of July, 1788. Composed and adapted for the pianoforte, violin, or German flute.” 1789. 5. Song. “Adieu thou dreary pile.” Arranged for pianoforte or harpsichord by Reinagle. 6. _Chorus_, sung before Gen. Washington, as he passed under the triumphal arch on Trenton Bridge, April 21, 1789. “Set to music and dedicated by permission to Mrs. Washington.” 7. _Song._ “In vain fond youth you would conceal.” 8. _Song._ “My soul is thine, sweet Nora.” 9. _Song._ “The Soldier tried, etc.” 10. _Song._ “Tantive back forward.” 11. _Song._ “Tis not the bloom on Damon’s cheek.” (These songs were _arranged_ by R. for pianoforte or harpsichord.)