The Euterpean did not continue that or any other course for very long, but, whatever justice there may have been in the foregoing criticisms, it was certainly the only instrumental music society in New York during the years immediately preceding the advent of the Philharmonic. Possibly its annual concert was 'indifferent,' but the program of 1839, quoted by Dr. Ritter, which includes compositions of Herold, Auber, Bellini, Boehm, Purcell, Rossini, and Thalberg, would argue the contrary.[36] The orchestra was of sufficiently good symphonic proportions. It consisted of six first violins, five second violins, four tenors, three 'celli, two contrabasses, four flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettle drums, drum and cymbals. Apparently the principals in the orchestra of the Euterpean lacked zeal and enterprise, but, whatever their faults, we are justified in looking upon the society as the parent of the Philharmonic and as an important factor in the development of orchestral music in New York. Of this Philharmonic Society, which succeeded the Euterpean and which is still flourishing, we shall speak in a later chapter. As far as we can discover it had nothing to do with the earlier society of the same name which was founded in 1799 of the junction between the Harmonical and the St. Cecilia societies. The earlier Philharmonic is somewhat elusive. If the occasional allusions to a Philharmonic Society during the first decades of the nineteenth century referred to the same organization, it probably existed until about 1829. There is a possibility, however, that the original Philharmonic failed and that various attempts were made to form other societies under the same name. Dr. Ritter says that the Musical Fund, organized about 1828, was the successor to a Philharmonic, the object of which was 'to promote the cultivation of the science of music; to afford facilities for the exhibition of talent, and its advancement to fair competition among the profession and amateurs.' As the Musical Fund gave monthly rehearsals for 'the display of glee and solo talent,' it may be inferred that the Philharmonic was concerned mainly if not altogether with vocal music; but we have been unable to discover any evidence which would show that the two societies had anything in common. The New York Choral Society, which devoted its energies to sacred music, seems to have done very notable work during the short time it lasted. It was founded in 1823, chiefly by Episcopal clergymen, and its first grand concert, given at St. George's Church on Beekman Street in 1824, is interesting enough to deserve citation: First Part