The only musician in New York at this period who stands out prominently is William Tuckey and, though he gave some benefit concerts, he was concerned mainly with the development of church music. However, it is worthy of note that he was the first to introduce the 'Messiah' to America, the occasion being a concert of sacred music in 1770, devoted largely to excerpts from that oratorio, including 'the overture and sixteen other pieces, viz. air, recitatives and choruses.' During the war there were a number of concerts in New York given by officers of the British army and navy. William Brown, who also appears in the concert life of Philadelphia and the South, gave a subscription series in New York in 1783 and again in 1785. Subsequently there seems to have been a lull in the musical affairs of the city until 1788, when subscription concerts were revived under the direction of Alexander Reinagle, 'member of the Society of Musicians in London,' and Henri Capron, a pupil of Gaviniés. They were continued by Mr. and Mrs. Van Hagen, 'lately from Amsterdam.' Pleyel, Stamitz, Dittersdorf, Martini, and Haydn shared the chief honors on the programs of that period, and we find a duet of Mozart on a program offered by Reinagle and Capron in 1789. Beginning about the year 1797 the concert season in New York shifted from the winter to the summer, and regular subscription concerts consequently declined. Their place was taken by concerts which the enterprising proprietors of public gardens offered as special attractions to their patrons. It would seem at first blush that the musical taste of the people at large was exceptionally good when concerts of high grade really proved attractive, but the public gardens of that period usually did not cater to the masses. After the failure of Samuel Francis's Vaux Hall Gardens, enterprises of the kind seem to have lost favor. In 1793 we find Mrs. Armory running a Vaux Hall in Great George Street and announcing a concert of 'the most favourite overtures and pieces from the compositions of Fisher and Handel ... the orchestra being placed in the middle of a large tree.' Joseph Delacroix in the following year gave a very fine concert under the leadership of James Hewitt at his 'Salloon,' the Ice House Garden, No. 112 Broadway. Three years later he announced concerts of vocal and instrumental music to be given with an orchestra of fifteen of the best musicians three times a week at his newly decorated Vaux Hall Gardens. In 1798 he raised the number of his concerts to four a week, but in the following year, unfortunately, he had to abandon the enterprise. The concerts given by Delacroix were invariably of the highest grade, according to later eighteenth-century standards.