The St. Cecilia Society of Charleston was one of the most ambitious of musical organizations in Eighteenth Century America, and its active influence extended far into the Nineteenth Century. Its orchestra was formed partly of amateurs and partly of professionals, the latter being engaged by the season. The following advertisement, which appeared in the New York, Philadelphia and Boston papers, is indicative of the spirit of enterprise shown, and it must also have had its influence on the musical life of these cities :
" Charleston, South Carolina, April 11, 1771.
" The St. Cecilia Society give notice that they will engage with, and give suitable encouragement to musicians properly qualified to perform at their concerts, provided they apply on or before the first day of October next. The performers they are in want of are, a first and second violin, two haut-boys and a bassoon, whom they are willing to agree with for one, two or three years."
In 1792 this same society wrote to Major Thomas Pinckney, then Minister to England, to buy and send out for it " one grand pianoforte and twenty pounds' worth of the best modern concert music." Josiah Quincy of Boston visited Charleston in 1773 and attended a concert given by the St. Cecilia Society. In writing of the affair he states : " I was passed from servant to servant and finally ushered in. The music was grand, especially the bass viol and French horns.
He also adds that the " first violinist, a Frenchman, played the best solo (he had) ever heard." Then he tells that " the salary of this violinist was one hundred guineas " per annum; that " most of the performers were gentlemen amateurs." Then Mr. Quincy comments upon the " richness of the dress of both ladies and gentlemen:" that there were " two hundred and fifty ladies present and it was called no great number;" that the " ladies in taciturnity during the performance are greatly before our (Boston) ladies."
In 1773 the orchestral force of the St. Cecilia Society in its " Musical Festival," in which Gluck's overture, " Iphigenie en Aulide " and Haydn's " Stabat Mater " were rendered, was as follows : " One organ, twelve violins, three basses, five tenors, six oboes, flutes and clarinets, two horns, one bassoon, and two pair kettledrums, in all thirty." This early orchestra of thirty pieces, when measured by European standards of the period, was of fair size. Even in Beethoven's time the orchestra at Bonn numbered but twenty-two instruments.
There were many French musicians resident in Charles-ton at this period. There was " Citizen " Cornet, with his " orchestra of French Music " — probably the pioneer of the small orchestras devoted to social functions — announcing to the people of Charleston by means of the Gazette, that he had " established a Vaux Hall, after the Parisian manner, in which there will be dancing on Saturday." Then " Citizen "
Cornet announces that " the orchestra will attend at American or French societies, if required."
http://www.tribalsmile.com/music/article_13.shtml
[See also Sonneck, 1907, p. 16ff]

The next reference to a public concert after 1760 I found in the South Carolina Gazette for September  7-14, 1765 when Mr. Thomas Pike who had arrived in Charleston in November of the previous  year as dancing, fencing and music master inserted this amusing advertisement:
“On Wednesday the 25th instant, September, the Orange Garden, in Trade Street, will be opened for the Night only, when a Concert of Vocal and Instrumental Musick will be performed by Gentlemen of the place, for the entertainment of all lovers of harmony.  Concerto on the French Horn and Bassoon by Mr. Pike.
    A subscription is opened for the same, as none but subscribers will be admitted; nor will any be taken at the door.  The subscription is two dollars for three tickets, to admit two ladies and a gentleman. – Subscriptions are taken in and tickets delivered by Thomas Pike, at the same place.
    N.B. It is hoped no persons will be so indiscreet as to attempt climbing over the fences to the annoyance of the subscribers, as I give this public notice that I will prosecute any person so offending, to the utmost rigor of the law.
                        Thomas Pike”
A number of “unforeseen accidents” obliged Mr. Pike to twice postpone his concert which “for the better accomodation of the subscribers [was] moved from the Orange Garden to the Theatre in Queenstreet” on Oct. 16th.[Note 1: South Carolina Gazette, Sept 28-Okt. 5, 1765.  In August Mr. Pike advertised his desire to instruct ladies and gentlemen "very expeditiously on moderate terms in Orchesography (on the art of dancing by characters and demonstrative figures”).]  From the program it would appear that Mr. Pike was assisted by other soloists and an orchestra.
PROGRAM
Act I.
French Horn Concerto
2d Concerto of Stanley
Solo on the Violincello
5th Concerto of Stanley
Bassoon Concerto
Song
Overture in Scipio [Note 2:  Probably from Haendel’s opera]

Act II
French Horn Concerto
Concerto on the Harpsichord
Trio
Bassoon Concerto
Song
French Horn Concerto of Hasse. [Johann Adolph Hasse, (1699, Bergedorph, near Hamburg; - 1783, Venice), celebrated composer of many operas.]
[Oscar George Theodore Sonneck, Early Concert Life in America, Breitkopf and Härtel, Leipzig, 1907, p15]

On Nov. 27, 1772 a concert of “Vocal and Instrumental Music” took place at Pike’s New Assembly Room.
[Sonneck, 1907, p. 21, quoting South Carolina Gazette, 19 November, 1772]

“For the benefit of  Mr. Humphreys on Wednesday the 31st of March instant [1773] the celebrated Mr. Saunders will, for that night only, exhibit his highest dexterity and grand deception, which have never yet been exhibited in this province, in Mr. Stotherd’s Long Room behind the Beef Market. Among a number of other surprising performances, Mr. Saunders will let any number of ladies or gentlemen think of as many cards as they please, and the same will be found in a roasted leg of mutton, hot from the fire, which will be placed on the table …
    After Act I an air to the French horn, by Mr. Humphreys.
    After Act II Mr. Stotherd will play the French Horn and guitar in concert.
    After Act III a song by Mr. Humphreys.
    After Act IV a song by Mr. Stotherd.
    The whole to conclude with a duette by Mr. Humphreys and Mr. Stotherd on the guitar.
    The doors will be opened at six o’clock, and the performance will begin at seven.
    No person to be admitted without a ticket, which may be had at the place of performance, and at the Coffee House. – Table seats one dollar each, and others twenty shillings.
    N.B. Mr. Saunders, after the performance, will teach the spectators several amazing tricks on cards, etc. gratis.
    *** Mr. Humphreys will esteem it a particular favour of those ladies and gentlemen, who intend to favour him with their company, to apply some time before his benefit night, in order that he may have seats made proper for their reception.”
    A similar performance followed on April 29, during which Mr. Saunders had several new tricks – up his sleeves.  Mr. Stotherd announced as his share in this joint benefit:
    “After Act I
    Mr. Stotherd will sing the Dust Last – a favourite cantata, accompanied with the guitar.
    Act the 2d
    He will play the French Horn and guitar in concert.
After the 3d.
    A song by Mr. Humphreys
After the 4th.
    The Lark Shrill Notes, accompanied with the guitar by Mr. Stotherd.
The whole to conclude with a Hunting song called Away to the fields – by Mr. Stotherd..
[Sonneck, 1907, p. 22]

Then from 1793 on to the end of the century, Charleston enjoyed a surprisingly vigorous musical life.  During these years English opera flourished splendidly and from 1794 on until about 1796 French and Italian operas were introduced by a company of French comedians who had managed to escape the terrorists in St. Domingo. So that side by side with operas by Arne, Atwood, Shield and others such as by Rousseau, Grétry, Cimarosa, Paisiello were heard at Charleston.  This influx of French musicians exercised an influence also upon the concert-life. Not alone did the singing members of the companies generally participate in the concerts but the French musicians together with those residing at Charleston and those who belonged to the orchestra in the English companies formed a phalanx sufficiently large and capable to render the “full pieces” of the current European concert repertory. Thus the revolutions of France and St. Domingo contributed to laying the foundation of our cosmopolitan musical life with all its advantages and drawbacks.
[Sonneck, 1907, pp. 27-28]

[Charleston Concerts in 1793 and 1794 featured “Grand overtures” by Haydn (“Heyden”) and Sinfonies of Pleyel suggesting the presence of at least two horns.  The Pleyel sinfonia almost universally require two horns although the parts are not at all virtuosic, usually limited to the open harmonics of the middle register (with an occasional 11th harmonic). The Sinfonie in G has a brief run up to a written C’’’ (horn in G) and the one in F-minor has the first horn crooked in Ab , not always included in the standard cor d’orchestre set.  See Sonneck (1907) , pp. 29-30, for example programs.]

For the year 1795 the data are somewhat more numerous and interesting. The first was a “grand concert” given by Mr. Jacobus Pick on March 26th at William’s Concert Room with this program [note 1: City Gazette, March 26, 1795]:
Act 1st.
Overture composed by Girovetz
Song, by Mrs. Pick
Quartetto, - Pleyel
Concerto on the Clarinet, composed and performed by Mr. Dubois [note 2 The advertisement reads “Mrs. Dubois”, evidently a mistake.]
Song, by Mr. J. West
Rondo, - Pleyel
 Act 2d.
Sinfonie, - Haydn
Song, by Mrs. Pick
Concerto on the Violin, by Master Duport, - La Motte
Song, by Mr. J. West
Sonate on the Pianoforte, by Mr. Eckhard, - Dussek
Duetto, by Mr. and Mrs Pick
Sinfonie, - Pleyel
[Sonneck, 1907, p. 30]
 
Benefit concert for Mr. J. West, 16 April 1795:
Act 1st.
Sinfonie, - Haydn
Song, Mrs. Pick
Quartetto,  - Daveaux
Song, J. West
Sonata, grand pianoforte, Mrs. Sully
Song, Mad. Placide
Rondo, - Pleyel
Act 2d.
Sinfonia, -Guenin
Song, J. West
Concerto, Clarinetto, Mr. Dubois
Song, Mrs. Pick
Sonata, grand pianoforte, Mrs. Sully
Duetto, Mrs. Placide and J. West
Grand Sinfonie, - Pleyel
[Sonneck, 1907, p. 31]

Benefit concert for Mrs. Sully and Mrs. Pick  at Petersburg, Virginia, June 25, 1795
Part 1.
A Grand Sonata of Pleyel’s on the Piano Forte, accompanied on the violin – By Mrs. Sully and Mr. Pick.
A Favourite Song, ‘Whither  my love’ – By Mrs. Pick.
A Favourite Scotch Reel, with variations – By Mrs. Sully.
The Favourite Duett of ‘the Way worn traveller’ – By Mr. and Mrs. Pick.
A Grand Sonata of Steibelt’s, to conclude wth the favourite Air of ‘The Rose Tree’ with variations – by Mrs. Sully.
The Marseilles Hymn, in English – By Mrs. Pick.
Part 2.
A Grand Sonata  of Clementi’s on the Piano Forte, accompanied on the violin – By Mrs. Sully and Mr. Pick..
A French Song – By Mr. Pick.
The Favourite Air of Lira Lira, with variations, from the Surrender of Calais [note 1: Arnold], - By Mrs. Sully.
An Italiand Duet, sung by Mrs. Sully and Mr. Pick.
The Favourite Air of Moggy Lauder, with variations on the Piano Forte – By Mrs. Sully.
The Hunting Song of Tally Ho! – By Mr. Pick.
Sonata on the Italian Harmonica, with several known airs.
To begin precisely at 7 o’clock. Tickets a 6 s. each …
It is safe to say that, whenever and wherever during the last quarter of the eighteenth century concerts of any importance were given in the small towns they generally were due to the enterprise of he musical members of theatrical companies just then performing at these places.
[Sonneck, 1907, p. 59, quoting adv. from Virginia Gazette and Petersburg Intelligencer.]
A concert at Richmond July 2, 1795 at the Eagle Tavern by Mrs Sully and Mrs. Pick of the theatrical company  just then performing there and who apparently formed a sort of travelling team in this year. The program as announced in the Richmond and Manchester Advertiser was the same as performed at Petersburg on June 25th.
[Sonneck, 1907, p. 61]
On July 16th [1795 at Alexandria, Virginia], Mrs. Sully and Mrs. Pick appeared in a concert the program of which was the same as in their entertainment at Richmond on July 2d and at Petersburg on June 25the, the fourth number only in both acts being changed to a song by Giordani, respectively the popular song ‘Cottage Maid’.
[Sonneck, 1907, p. 63]
 
A concert for the benefit of Messrs. Petit and Villars on 21 March 1796 feactured a Concerto on the Hautboy, by Mr. Graupner. .. At Charleston Gottlieb Graupner was a member of the City Theatre orchestra.
[Sonneck, 1907, p.33]