Mrs. Pownall, whom we have already met, gave a concert in 1796 which was somewhat out of the ordinary. It was advertised as a _Grand Concert Spiritualé_[!], and was devoted almost exclusively to 'overtures, songs and duets, selected from the most celebrated of Handel's oratorios: the "Messiah," "Judas Maccabæus," "Esther," etc., etc.' In the same year there was advertised a 'Grand Musical Festival,' which is interesting for many reasons. Probably it was the first musical affair in America to which the term 'Festival' was applied; it employed an orchestra of over thirty performers, which was an unusually large ensemble for that time, and it included among the numbers on its program the overture to Gluck's _Iphigénie en Aulide_ and Haydn's _Stabat Mater_--'the celebrated _Stabat Mater_ of Doctor Haydn,' as the announcement puts it. Apart from these, there were no further concerts in the last decade of the century which call for special mention. Two attempts were made to revive the Vaux Hall, one by 'Citizen' Cornet in 1795 and one by Mons. Placide in 1799, but they do not seem to have added much of value to the musical life of the city. On the whole, in Charleston, as elsewhere in America, the beginning of the nineteenth century saw a perceptible decline in the public demand for music of the best kind. Our information on early concert-life in other Southern cities does not enable us to say much about it. In Maryland, Annapolis probably took the lead musically until after the middle of the century, but no sources have been disclosed which would supply us with any details of its musical life. We are a little better informed on musical affairs in Baltimore subsequent to the year 1780 and it would seem that toward the end of the century that city resembled Charleston very closely in the number and quality of its concerts. Also to Baltimore as to Charleston there was a large influx of French musicians after 1790, and with similar results. We know nothing about concerts in Baltimore prior to the year 1784, when William Brown demonstrated his 'superior talents on the German flute.' A couple of concerts, one of instrumental music only, are advertised for 1786, and in the same year we find the first notice of a subscription season. As far as we can discover subscription concerts were a regular feature of the musical life of the city until the end of the century. In 1790 Ishmail Spicer, who conducted a singing school for the improvement of church music, exhibited his pupils in a concert of sacred music. Then came the French musicians with their overtures of Grétry and their ariettes of Dalayrac. Like their compatriots in Charleston, they proved commendably catholic in their tastes, and, in addition to French compositions, gave frequent examples of Haydn, Pleyel, Stamitz, Bach, and Gyrowetz (whose name they never succeeded in spelling correctly). Though they practically monopolized musical affairs in Baltimore for many years, they collaborated freely