A comparison between the eighteenth-century concert life of America and of Europe will easily show that this country, even considering its many disadvantages, was not very far behind the older continent. Paris, London, Vienna, Berlin, and perhaps a few other German cities like Mannheim and Hamburg, were ahead of New York, Boston, Philadelphia, and Charleston in the quality of their concerts, but not so very far ahead as to make the American cities look provincial in comparison. When we consider the wealth of tradition behind the musical life of Europe and the many difficulties which confronted early concert givers in America the difference appears still less. But, as we pointed out in the last chapter, there was one very profound and important difference--the European cities were productive, the American cities were not. And, after all, the artistic stature of a country must finally be measured not by what it appreciates, but by what it creates. Thus measured, America of the eighteenth century was still a musical infant. W. D. D. FOOTNOTES: [25] The only published work devoted specifically to this subject is O. G. Sonneck's 'Early Concert Life in America,' which seems to have exhausted all available sources of information. We have used it freely as our authority for the facts on early American concerts set forth in this and the preceding chapters. [26] The Concert Hall was probably built in 1754, though the exact date of its erection is unknown. It was torn down in 1869 to allow the widening of Hanover Street. [27] Carl Ditters von Dittersdorf. [28] Samuel Felsted. Practically nothing is known about his life. His oratorio, 'Jonah,' was published in London in 1775. [29] By _Martini il Tedesco_ (1741-1816), whose real name was Paul Ægidius Schwartzenburg. His opera, 'Henri IV,' was produced in 1774. [30] In Mr. Sonneck's opinion the 'Ode on Masonry' was unquestionably composed by Tuckey. [31] Bremner was a relative of the Scottish music publisher, composer, and editor, Robert Bremner. He came to Philadelphia in 1763, conducted a music school, was for a time organist of Christ Church, and was the teacher of Francis Hopkinson. [32] Thomas Alexander Erskine, sixth earl of Kelly (1732-81), pupil of Stamitz and an amateur composer and violinist of some celebrity in his day. He wrote a number of minuets, overtures and symphonies, the most popular of which was an overture called 'The Maid of the Mill' (1765). [33] So spelled after 1790.