In May of 1825, a committee of the Musical Fund Society reported in favor of establishing a school of music for the development of young musicians:
In the high hopes for the fruits of the "Academy," the Society engaged Adolph Schmitz, a Düsseldorf musician to come to Philadelphia and take charge of the third class in the "Academy." Mr. Schmitz became a distinguished teacher in the city. Here is a single instance where the Society was the cause of a great musical gain to the city directly in the elder Schmitz, indirectly in the younger, who soon became foremost among the local musicians.
[Madeira, Annals, p. ??]
October 27, 1827 Mr. Adolphus Smith [sic] was proposed as a professional member by Mr. [Charles F.] Hupfeld. The nomination was referred to the Board of Directors of Music with instructions to report thereon at the next meeting. On November 24, 1827 the Board of Directors of Music  to whom the nomination of Mr. Adolphus Smith [sic] as a professional member reported that they approved of it and he was duly elected a professional member.
 [Musical Fund Society of Philadelphia, Rough Minutes; also reflected in the list of members 1820 – 1904 and the Supplementary Records.  He is first listed as "Adolphus Smith" and noted as "resigned" on January 7, 1840.  He is re-elected on January 9, 1847 and noted as having died on December 30, 1890. Gerson (Music in Philadelphia, p.64) identifies the son as William Adolph Schmitz, but does not indicate in what capacity the younger Schmitz was “prominent.” Another son, Charles. M. Schmittz, was a noted cellist, conductor of Philadelphia’s Germania Orchestra., and choirmaster at St. James Church. ]
Prof. Schmitz was born in Düsseldorf on December 1, 1796 and was educated at Cologne.  He volunteered and served in the "war of the allies with France," (Napoleonic War)  being present at the battle of Waterloo in 1815 for which service he was awarded a medal.
[The Philadelphia Public Ledger, December 31, 1890, p. ??]

May 6, 1828
The Academy of Music is in a flourishing condition, and bids fair to produce important results. The Society have already derived much assistance from the pupils at their concerts and are enabled to look with confidence to this source for able and skilful aid in any performances they may undertake.
The number of pupils at present attached to the Academy is about thirty.
Since the last report the Academy has obtained an important acquisition in the valuable services of Mr. Adolphus Schmitz who in consequences of an engagement mad with him in Europe came to this country to fill the situation of third teacher in the Academy and commenced his duties on the twentieth day of October last.
[Musical Fund Society of Philadelphia, Minutes of Annual and Other Meetings, University of Pennsylvania MS. Coll. 90, vol. 1, box 3, pp. 120-121]

May 5, 1829
The Academy of Music now under the immediate charge of three teachers Mess. Cortets, Homman, and Schmidt [sic].  Its labours have been of great value to the Orchestra of the Society which now derives from it an important portion of its force and we avail ourselves of this opportunity to introduce it to the more particular notice of the Society and the public, and to point out some of the advantages that may be obtained by young men desirous of improving themselves in the practise  of the art assured as we are that it affords many means of facilitating he progress of the pupil, not to be found under any individual teacher. In tit all the stringed and wind instruments (the organ and pianoforte excepted) are taught by the three eminent professors above named.
The very considerable number of pupils at all times attached to the Academy pursuing the study of different instruments affords the opportunity of playing together in concert.
A quarterly examination of the pupils is held at which concerted pieces are performed and a degree of emulation is excited which leads to excellence and after a sufficient knowledge has been obtained, they are admitted into the band at the practisings and concerts of the Society, the great advantages to be derived from which must be obvious to every person at all acquainted with the art.
An last though not least the very moderate charge for tuition ought itself to be an inducement to the votaries of the science to enroll themselves as members of the school which has already produced some very efficient performers many of whom have taken an active part in the performances of the Society; in short we don not hesitate to say, that from the many advantages afforded in this institution an orchestra player will be formed in a shorter time than in any other way with which we are acquainted.
[Musical Fund Society of Philadelphia, Minutes, pp. 133-134]

May 4, 1830
The Committee to whom the immediate superintendence of the Academy of Music is entrusted have in their report to the Board expresses themselves as having received the most favorable impressions of its continued excellence and utility. The number of pupils
now amount to thirty (one of them admitted as a free scholar), and at a late examination they gave evidence of previous application and progress in the art highly credible to their own diligence and to their own diligence and to talents and attention of their teachers.
The expenses of the school are now nearly defrayed by the receipts for tuition and if the advantages which the Academy offers were more extensively known and as highly appreciated as they deserve to be there can be no doubt that the school would cease to be a charge on the funds of the society.
When it is however considered that the Society has the benefit of the assistance of the teachers at all their concerts and practisings and that the Orchestra now derives from this school a very important portion of its force, the small sum which the school annually draws from the treasury of the Society cannot but be considered as a judicious and advantageous expenditure.  
[Musical Fund Society of Philadelphia, Minutes of Annual and Other Meetings, pp. 142-144]

Despite Prof. Schmitz’s best efforts, however,  the "Academy" lasted only a few years and, with only a dozen students, became too expensive to maintain:
July 5, 1831: On motion resolved that it is not expedient to continue the payment of the salaries to the teachers in the Academy of Music after the termination of the current session until the Board shall take further order in reflection thereto, and that the treasurer be furnished with a copy of the resolution
[Musical Fund Society of Philadelphia, Rough Minutes]

November 14, 1831
The efforts of the Society had produced a remarkable change in the community with regard to music.  A taste for that beautiful branch of the Fine Arts if it was not created was at least developed to a great extent, and from this cause the attention of those members of the Society who had been the supporters of the practisings, and of the Academy of Music became necessarily to a considerable extent diverted. The same circumstances were found to produce a considerable effect on the public exhibitions of the Society. Much difficulty occurred in making the necessary arrangements, and especially in securing the attendance of the professional members.  The plan which had been adopted for the concerts and other musical performances, was found to be insufficient, and as a natural consequence the benefits which the institution had derived from them were greatly diminished.
These facts well known to many members of the Society, rendered it expedient to make a change in the arrangements corresponding with the change of circumstances.  Accordingly meetings of the Society were called. Committees were appointed and important alterations made in the By Laws, both with regard to the Academy of Music and the Orchestral regulations.
Academy of Music Abolished
The first change adopted was the abolition of the Academy of Music, it having been found extremely difficult if not altogether impossible in the existing state of our community to introduce with success the system of mutual instruction, which was contemplated when the Academy was organized and it being a subject of considerable doubt whether a mere reduction in the price of musical tuition, which was ascertained to be all that was practicable would be just towards the professional members, or entirely consonant with objects of the Society.  Independent of these considerations the Academy had become a source of considerable  expense, and this expense had not been met in the manner or to the extent that was probably contemplated, when it was organized. Our resources were  therefore diminished and we were rendered less able to fulfill the purposes originally contemplated especially the benevolent objects which may justly be regarded as those for which the Society was founded as much as for the cultivation of Taste and the patronage and improvement of the arts.
The other principal change adopted was the abolition of the instrumental practisings, which were previously appointed to be held once a month during the the winter and spring, and the vocal rehearsals which it was intended to should take place as often during the same period.   The reasons that gave rise to this change were the great and increasing difficulty of securing the attention that was necessary on the part of the professional members, not as has been observed from any want of interest and devotion to the main objects of the institution, but from the sacrifices it required on their part which were perhaps scarcely compensated by the advantages that were derived from them to the Society.  Of the propriety of this measure, the board have as yet seen no reason to doubt.
In this view of the provisions thus obliterated several new ones were introduced the general nature of which it may be proper to state as they have become a regular part of he organization of the Institution.
The musical term has been lessened from eight to six months and has been thrown more into the winter season, a change which experience has proved to be particularly expedient.  The performance of the Society have been arranged so as to take place once a month  during the term and consists of three public and three private concerts in the alternate months from October to March the necessary rehearsals being regulated by  the Conductor.  At these concerts the right of admission of members, and their privileges remain unchanged,; but after due consideration it was deemed altogether expedient to limit the admission of persons not being members of the Society, exclusively to such as do not reside in Philadelphia, aside such as the privilege may be extended to by express regulations made from time to time by the joint board of officers. The advantages of this arrangement were alluded to in the last Report and the board have seen no reason to doubt them.
The abolition of the Academy of Music made some changes necessary in the regulations for the performances of the Society.  Till that time the Orchestra was composed of professors, amateurs and pupils who attended or not as their convenience or their zeal dictated. The Academy in this respect had contributed not a little to the performances of the Society and when it ceased it became necessary to make heavier claims than formerly on the time and services of the professional members.  It was thought too that the benefit thus derived by the Society might be obtained at the expense of gentlemen who were much and profitably occupied, and that therefore there was some injustice in requiring their aid with greater inconvenience to themselves than was absolutely necessary.  With this view it was determined that every professional member should receive a pecuniary compensation for his services. In order that this change may be made to coincide more fully with the main intentions of the institution each professional member engaged in the performance is entitled to be credited on the books of the Treasurer for his services, at the rate of three dollars for every public concert and two dollars for every private one.  The compensation of the conductors both of the vocal and instrumental departments, is placed  at double those amounts.
At the end of the season the performer is at liberty to receive the sum which is thus due to him, or should he so prefer interest at the rate of five percent is added yearly to the amount, and the fund remains at his disposal in addition to that which he may be intitled to receive according to the previous regulations of the Society.  To enforce these provisions which it will be seen are peculiarly calculated for the benefit of he professional members some increase has been made in the fines heretofore imposed; but a stronger security exists in the evident advantage that is derived from them, not only to the individuals but to the Society at large. 
[Musical Fund Society of Philadelphia, Minutes of Annual and Other Meetings, pp. 176-181]

On December 11, 1828 Messrs. Krollman and Schmitz performed a Concertante for Two Horns (no composer indicated) on the society's concert. Krollman is listed first and might have served as principal at this time. The program also included the Overture to Egmont, by Beethoven and the always delightful Overture La Chasse du Jeune Henri, which would reappear with some regularity on future society concerts.  Although the latter features four substantial horn parts, the society's copy contains only parts one and three with sufficient cues from the other two parts, to allow coverage by two players.   Unfortunately, the printed programs from this period do not include full orchestra personnel lists. The spring concert of the same season (April 29, 1829) featured a guest appearance by Boston’s Mr. Widtl  in a Horn Solo by Düring.   Also on the program were two favorite overtures by. Méhul: Les Deux Aveugles de Toléde and La Chasse du Jeune Henri. Most probably the horn players on these pieces were Krollman and Schmitz since they were local and members of the Society.
On February 12, 1830, at a meeting of the directors of music, it was resolved that Mr. Wheeler and J.C. Fisher be requested to fill the two Corni parts at all performances of Haydn’s  oratorio “Creation.”  Mr. Krollman’s initial membership was due to expire on April 4, 1830 although Prof. Schmitz was paid through to April 4, 1834.

1833 Adolph Schmitz publishes Arion, a collection of marches, waltzes, airs, rondos, fantasia, etc.for Spanish guitar.  Philadelphia: Kretschmar and Nunns, 1833.
 
On March 23, 1836 Prof. Schmitz performed a “Pot Pouri for French Horn” of his own composition.  On the same program were Rossini’s Overture to the Barber of Seville and, once again, Méhul’s “La Chasse.”   

Charles M. Schmitz who so long gave Philadelphians the satisfaction of hearing symphonic music which was their own, was the son of Adolph Schmitz, of Düsseldorf, player of the French Horn.  He taught woodwind and brass instruments in the Academy of the Musical Fund Society, and had the distinction of being the first musician brought to America for the purpose of teaching.
[Wister,  1925, p.11]

December 30, 1835, Apollo society Soirée Musicale
Hupfeld (violin), Reinhart, Schmitz (horn?), Taylor (piano), Peile, B.C. Cross
[Gershon, p. 87]
 
February 17, 1837 Third Soiree Musicale at The Apollo
Instrumental Performers:
Hupfeld (violin), Reinhart, Schmitz (horn?), Taylor (piano), Peile, B.C. Cross, &C.
Beethoven Sextet, Selection from Pastoral Sinfonia, Mozart Quintet

January 7, 1840: Prof. Schmitz resigned from the Society

From 1843 through 1854 Adolph Schmitz  publishes at least fourteen original compositions or arrangements for voice with guitar or piano.