Except for the rugged originality of the ludicrous Billings, the opening of the nineteenth century had still disclosed nothing of American composition that might be considered other than commonplace. But at least the pioneer work had been done with commendable earnestness and under very real handicaps. The actual achievements of pioneers are never very great, but the value of their work is incalculable. To the pioneers of American composition we can at least tender our respect for the undoubted sincerity of their efforts. W. D. D. FOOTNOTES: [10] _Op. cit._, p. 54. [11] Hood: 'History of Music in New England.' See also Ritter: 'Music in America' and Elson: 'History of American Music.' [12] William Tansur was a contemporary English Church composer. His collection, 'The Royal Melody Complete,' here alluded to, appeared in 1754. [13] Aaron Williams was an English music engraver, publisher and composer. 'The New Universal Psalmodist' appeared in 1763. [14] The French fleet, of course. [15] For the following information concerning concerts in New York, Philadelphia and the South we are indebted wholly to O. G. Sonneck's scholarly and trustworthy work, 'Early Concert Life in America,' Leipzig, 1907. [16] _Op. cit._, Chap. VIII. [17] Handel. [18] This was Christian Bach, known as 'the London Bach.' As far as we can discover Americans left the great J. S. Bach severely alone. [19] Mr. Sonneck has pointed out that the name of Mozart appeared infrequently on concert programs before the year 1800, even in Vienna. [20] The name was spelled thus for several years. Later it became Cecilia, as it is at present. Recruited from among the social leaders of Charleston, the Society naturally became an exclusive organization in which social considerations eventually predominated. [21] In those days proof-reading was a fine art. The announcement to which we refer speaks of 'music by the celebrated Italian, Père Golaise.' [22] Mr. O. G. Sonneck, whose excellent monograph on Francis Hopkinson is our authority. [23] For a detailed discussion of 'Urania,' together with some very interesting reflections on early American sacred music, see Mr. Sonneck's monograph on James Lyon: 'Francis Hopkinson and James Lyon: Two Studies in Early American Music,' Washington, 1905. [24] _Op. cit._, Chap. III. CHAPTER III EARLY CONCERT LIFE Sources of information--Boston Concerts of the eighteenth century; New England outside of Boston--Concerts in New York--Concerts in Philadelphia; open-air concerts--Concert life of the South; Charleston, Baltimore, etc.; conclusion.