The Musical Society gave many concerts up to the year 1790--mostly in subscription series and always, it would seem, under the leadership of Selby. Apparently there were other musical societies in Boston as early as the year 1787, for the 'Massachusetts Centinel' on September 22 of that year announced a 'concert of Sacred Musick to assist in rebuilding the Meeting House in Hollis Street, agreeably to the generous intentions of the Musical Societies in this town.' The name of William Billings appears twice on the program of this concert. We have already mentioned the concert in honor of Washington's visit to Boston at which Felsted's oratorio, 'Jonah,' was given in its entirety--the first time that a complete oratorio had been given in Boston.[28] The last mention of Selby's name in connection with a concert was in 1793 when the following program was given for his benefit and that of Jacobus Pick: The Overture of Henry IVth[29] A French Song by Mr. Mallet A Clarinet Concerto by M. Foucard A French Song by Madame Douvillier A Violin Concerto, by Mr. Boullay An Italian Duetto, by Messrs. Pick and Mallet A Flute Concerto by Mr. Stone La Chasse, composed by Hoffmeister A Piano Forte Sonata, by Mr. Selby A French Trio, by Madame Douvillier, Messrs. Pick and Mallet A Duetto on the Harmonica, by Messrs. Pick & Petit A Symphony, composed by Pichell This program is important as marking a sharp transition in the style of Boston concerts. Due partly to the influx of theatrical companies, following the lifting of the ban on dramatic productions, and partly to the sudden increase in the number of French musicians, concerts in Boston after the year 1790 entirely lost their old dignified and solid demeanor and acquired a strange new lightness, a transatlantic frivolity, a cosmopolitan air, a flavor of complete worldliness. The 'late celebrated Mr. Handel' disappears entirely from the concert programs of a city to which he had for long been the musical mainstay, and in his stead enter Pleyel, Grétry, Gluck, and 'the celebrated Haydn.' Until the beginning of the nineteenth century the leading figures in the concert life of Boston were Messrs. Pick and Mallet, Mrs. Pownall, and Dr. Berkenhead. The most important of these was Mallet, a French gentleman, who is supposed to have come to America with Lafayette and to have served in the army of the Revolution. In addition to his concert activities he taught music, played the organ for the 'Rev. Mr. Kirkland's congregation,' and was one of the first music publishers in Boston. After the year 1793 we find his name infrequently on concert programs, and after that year, too, we notice a decided decline in both the number and the quality of Boston concerts.