The other concerts given by Flagg were of about the same standard. He seems to have disappeared from Boston about the year 1773. His most important successor in the promotion of music in Boston was William Selby, an Englishman, who came over as organist of King's Chapel, Boston, in 1772, or perhaps earlier. Selby threw himself into the musical life of his adopted country with an enthusiasm for the cause which seems always to have been exclusively confined to foreigners. He played and taught the harpsichord and organ, composed prolifically, promoted concerts of fine quality, and was the leading spirit in the Musical Society which did much for music in Boston between 1785 and 1790. His devotion to choral music was especially noteworthy and he promoted some choral concerts of an artistic quality far beyond anything yet heard in America. We find announced for April 23, 1782, a concert under his direction, to consist of '_Musica Spiritualis_, or Sacred Music, being a collection of Airs, Duetts, and Choruses, selected from the oritories [?] of Mr. Stanly, Mr. Smith and the late celebrated Mr. Handel; together with a favorite Dirge, set to music by Thomas Augustus Arne, Doctor in Music. Also, a Concert on the Organ, by Mr. Selby.' In the 'Massachusetts Gazette' of January 2, 1786, there is announced a remarkable concert to be given by the Musical Society on January 10. Besides prayers, psalms, and the Doxology, 'as set to musick by Mr. Selby,' the program consisted of the overture to Handel's 'Occasional Oratorio'; the recitative 'Comfort ye my people,' from the 'Messiah,' and the aria, 'Every valley shall be exalted,' from the same work; the fourth Concerto of Amizon, _musica da capella_, op. 7; 'Let the bright Cherubims,' from 'Samson,' and 'The trumpet shall sound,' from the 'Messiah'; the second organ concerto of Handel; 'a Solo, Piano, on the organ,' by Mr. Selby; and 'a favourite overture by Mr. Bach,' performed by 'the musical band.' A similar program was repeated on January 16, 1787, at a 'Spiritual Concert for the benefit of those who have known better Days.' The 'Hallelujah Chorus' from the 'Messiah' was included in the latter program, as was also Piccini's overture to _La buona figliuola_, a solo from the oratorio 'Jonah,' composed by Felsted, and a 'favourite overture' of Carlo Ditters,[27] played by 'the musical band.'