has succeeded so
splendidly in these fourteen years proves his fine leadership.

He had a body of workers devoted to the church, people before whom was
ever held up the fact that they could serve the Master they all loved
by singing, if they could in no other way; that they could give their
voices, if they could give nothing else. He had a body of workers
devoted also to himself, who would have followed him unhesitatingly no
matter what commands he lay upon them. But he felt they should have
some other encouragement, some other interest to hold them together,
so almost immediately upon their organization he took up the study of
Haydn's "Creation." It seemed a stupendous undertaking for a young and
inexperienced chorus, one with no trained voices, few of whom could
even read music at sight. But they plunged into the study with spirit.
No incentive was needed to come to rehearsals, no one thought of
dropping out. Indeed, the opportunity to study such music under such
a master brought many new members. And in the fall of that year the
oratorio was given with splendid success.

This method has been followed ever since. Every year some special work
is taken up for study and given in the fall. It is an event that is
now a recognized feature of the city's musical life, eagerly awaited
by music lovers not only of Philadelphia but of nearby towns. In
addition to Haydn's "Creation," which has been sung four times,
the chorus has given Handel's "Messiah" three times, Mendelssohn's
"Elijah" twice, Beethoven's "Mount of Olives," Mendelssohn's "Hymn of
Praise," Miriam's "Song of Triumph." It has also given a number of
secular concerts. For all this extra work neither Professor Wood nor
any member of the chorus has ever received one cent of pay. It is all
cheerfully contributed. The oratorios are given with a full orchestra
and eminent soloists. In the secular concerts the music is always of
the highest order. Guilmant, the celebrated French organist, gave a
recital at The Temple while in this country. The chorus believes
in the best, both in the class of music it gives and the talent it
secures, and has long been looked on by those interested in the city's
musical welfare as a society that encourages and supports all that
is high and fine in music. Among the selections given at the Sunday
services are Gounod's "Sanctus," the magnificent "Pilgrim's Chorus,"
the "Gloria," from Mozart's "Twelfth Mass," Handel's beautiful
"Largo," the