Syllabus Authors I. Martini's celebrated Overture II. Jehovah reigns: an anthem from 97th Psalm Tuckey III. Te Deum laudamus Arnold IV. Violin Concerto By Mr. Phile of New York V. I heard a great voice: an Anthem from Rev. XIV Billings VI. Vital Spark: An Anthem on Mr. Pope's ode 'The dying Christian to his Soul' Billings VII. Overture Artaxerxes Arne VIII. Friendship thou charmer of the mind: From Watts' Lyric Poems Lyon IX. The Rose of Sharon: an Anthem from 2d of Canticles Billings X. Flute Concerto By the Chevalier du Ponceau XI. Sundry Scriptures: an Anthem on the nativity of Christ Williams XII. The Hallelujah chorus: on the extent and duration of Christ's Government (from the 'Messiah') Handel We may mention here the extraordinary Grand Concert given at the Reformed Church in Race Street on May 4, 1786, with a chorus of two hundred and twenty and an orchestra of fifty. Of course, such concerts were unusual in Philadelphia. Choruses of two hundred and twenty and orchestras of fifty were not then common, even in European capitals. But, as Mr. Sonneck has observed, such undertakings were not possible 'without a logical evolution of conditions,' and this concert throws a very favorable light on musical conditions in Philadelphia. Incidentally, we learn that nearly one thousand tickets were sold for the event, a remarkable showing for a city of about 40,000 people. There was a very active musical life in the South during the eighteenth century, and it was much more diffused than in the Middle or New England colonies. A peculiar feature of the public concerts in the South was the frequency with which amateurs appeared as performers. We find the vocal part in one concert was taken by 'a gentleman who does it merely to oblige on this occasion.' In the advertisement of another we read that 'the gentlemen who are the best Performers, both in Town and Country, are so obliging as to assist ... on this Occasion.' Again we notice the announcement of a 'Concert of Vocal and Instrumental Musick to be performed by Gentlemen of the place, for the entertainment of all lovers of Harmony.' Such announcements were common. Of course, amateurs sometimes took part in concerts in the North, especially before the Revolution. As a rule, they were gentlemen of the king's army and navy, among whom the practice of music seems to have been sedulously cultivated. But it would appear that the proportion of practical amateur musicians was much greater in the South than elsewhere in America, and that fact alone speaks volumes for the culture of the Old Dominion.