The American Revolution caused concerts and other entertainments to be almost entirely abandoned, with the exception of the Mischianza and other affairs in which the British were the leading spirits. Little occurred during this period to advance musical art. With the country again at peace and with the dawn of a new century, interest in music revived and early in 1820 eighty-five men organized the Musical Fund Society, so far Philadelphia’s greatest musical achievement. The officers and directors chosen on January 29th, 1820, were: Dr. William P. De Wees, _President_ Dr. Robert Patterson, _Vice-president_ Daniel Lammot, _Treasurer_ John K. Kane, _Secretary_ Managers of the Fund: James W. Barker, Thomas Artley, Francis G. Smith, Edward Hudson, Benjamin Carr, William Strickland, Henry P. Barrekens, William Hawkins, Charles A. Poulson, Benjamin Say, George Schetky and Andrew Farrouihl. The Charter states “That the essential objects of the said corporation shall be the relief of decayed musicians and their families and the cultivation of skill and diffusion of taste in music.” Four years later Musical Fund Hall was built at Eighth and Locust streets. For over thirty years this building was the centre of all music in Philadelphia, except opera. The Society maintained an orchestra and a chorus, and conducted an Academy of Music, which was the first school in Philadelphia permitted by Charter to confer Academic degrees in music. The orchestra of the Musical Fund Society was composed of its members, professional and amateur, and there were strict regulations as to rehearsals. They were players of no mean attainments for their time, and it is to be regretted that the influx of dazzling foreign performers was permitted to quench the ardor of the audiences and finally their own. The quality of the music performed was of a high order and compared favorably with that of Europe and of other American cities of that period. The “Creation” was chosen for the first concert, but the music could not be procured in Baltimore, New York or Boston, or even in Europe, so the plan was abandoned. When it was first produced trombone players were engaged to come from Bethlehem, as there were none in this town. Indeed, the instrument itself was unknown and aroused much curiosity. Later at these concerts (1845), Beethoven’s Symphony No. 1 was given in full. It was announced as “The Entire Grand Symphony of Beethoven,” and between the movements were vocal numbers serious and comic. During the next season the Second Symphony was given in the same way, and two years later came the “Eroica,” the Overture to Oberon, and the Midsummer Night’s Dream.