CHAPTER XXV
THE CHORUS OF THE TEMPLE
Its Leader, Professor David Wood. How he Came to the Church. A sketch of His life. The Business Management of the Chorus. The Fine System.
The Sheet Music and Its Care. Oratorios and Concerts. Finances of the Chorus. Contributions it has Made to Church Work.
With a pastor who had loved music from childhood, who taught it in his early manhood, who was himself proficient on several instruments, music naturally a.s.sumed an important place in Temple life and work.
From the moment of his entering upon the pastorate of Grace Baptist Church, Mr. Conwell made the music an enjoyable feature of the services.
In this early work of organizing and developing a church choir, he found an able and loyal leader in Professor David D. Wood, who threw himself heart and soul into helping the church to grow musically. He has been to the musical life of the church what Mr. Conwell has been to its spiritual growth, and next to their pastor himself, it is doubtful if any man is so endeared to the Grace Church membership as is Professor Wood, their blind organist.
He came to them in May, 1885, the regular organist being sick. His connection with the church came about in the most simple manner and yet it has been invaluable to the work of The Temple. His son was an attendant at the church, and when the regular organist fell ill, asked his father if he would not take his place. Ever ready to do a kindness. Professor Wood consented. The organist never sufficiently recovered to come back to his post, being compelled to go West finally for his health. Mr. Conwell asked Professor Wood to take the position, and from that day to the present he has filled it to the satisfaction and gratification of the Grace Church.
He was born in Pittsburgh, March 2, 1838. His parents were poor, his father being a carpenter and he himself built the little log cabin in which the family lived. When David was a baby only a few months old, he lost the sight of one eye by inflammation resulting from a severe cold. When about three years old, he noiselessly followed his sister into the cellar one day, intending in a spirit of mischief to blow out the candle she was carrying. Just as he leaned over to do it, she, unconscious that he was there, raised up, thrusting the candle in her hand right into his eye. The little boy"s cry of pain was the first warning of his presence. The eye was injured, but probably he would not entirely have lost its sight had he not been attacked shortly after this with scarlet fever. When he recovered from this illness he was entirely blind. But the affliction did not change his sweet, loving disposition. He entered as best he could into the games and sports of childhood and grew rugged and strong. One day, while playing in the road, he was nearly run over by a carriage driven by a lady.
Learning the little fellow was blind, she became interested in him and told his father of the school for the blind in Philadelphia. His parents decided to send him to it, and at five years of age he was sent over the mountains, making the journey in five days by ca.n.a.l.
He was a bright, diligent pupil and a great reader, showing even at an early age his pa.s.sion for music. When eight years old, he learned the flute. Soon he could play the violin and piano, and in his twelfth year he began playing the organ. All these instruments he took up and mastered himself without special instruction. In mathematics, James G.
Blaine was his instructor for two years.
After leaving school his struggles to succeed as an organist were hard and hitter. Despite his unusual ability, it was difficult to secure a position. He met with far more refusals than encouragement. But he was persistent and cheerful. Finally success came. Two days before Easter the organist of an Episcopal church was suddenly incapacitated and no one could be found to play the music. Professor Wood offered himself.
The rector"s wife read the music to him. He learned it in an hour, and rehearsal and the services pa.s.sed off without a break. He was immediately engaged, his salary being one hundred dollars a year, his next position paid him fifty dollars a year. In 1864, he went to St.
Stephen"s Episcopal Church, Philadelphia, as choirmaster and organist, which position he still holds, playing at The Temple in the evenings only.
He is to-day one of the most widely known organists of the country, being acknowledged everywhere a master of the instrument. He is a member of the faculty of the Philadelphia Musical Academy, princ.i.p.al of the music department in the Pennsylvania School for the Blind. It is said he has trained more good organists than any other teacher in Philadelphia.
His cheery, kindly personality wins loyalty and devotion at once. His Christianity is the simple, loving, practical kind that fairly shines from his presence and attracts people to him immediately. The members of the Chorus of The Temple are devoted to him. No rules are required to keep them in order; no other inspiration to do their best is needed than his simple wish.
In the old church at Mervine and Berks streets he had a volunteer choir of about twenty, all that the little organ loft would accommodate. They could sing as the birds sing, because they had voices and loved it, but of musical training or education they had little. They were drawn from the membership of the church, composed of poor working people.
From this nucleus grew the chorus of The Temple, which was organized in 1891, six weeks before the membership took possession of its new building. With the organization of this large chorus, Professor Wood faced a new and difficult problem. How was he to hold from one hundred to one hundred and fifty people together, who were not paid for their services, who were not people of leisure to whom rehearsals are no tax on time or strength? These were nearly all working people who came to rehearsal after a day"s tiring employment. That he 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 cla.s.s 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 Ma.s.s," Handel"s beautiful "Largo," the "St. Cecilia Ma.s.s," and others of the same character.
The plan of fining members for absence from rehearsal, which was adopted at the time the chorus was organized, has also had much to do with its success, though it is rather unusual for a choir. Instead of being paid to sing, they pay if they do not sing. The fine at first was twenty-five cents for each failure to attend rehearsal or Sunday service. Many shook their heads and said it was a bad idea, that the members wouldn"t come and couldn"t pay the fine, and that the chorus would go to pieces. But the members did come, and when for any reason they were compelled to stay away they cheerfully paid the fine and the chorus flourished. These fines helped to pay the current expenses of the chorus. In the last three years the amount has been reduced to ten cents, but it still nets a sum in the course of the year that the treasurer welcomes most gladly. A collection is also taken at each service among the members, which likewise helps to swell the chorus treasury.
Speaking of the organization and work of such a chorus, Professor Wood says:
"In organizing a church chorus one must not be too particular about the previous musical education of applicants. It is not necessary that they be musicians, or even that they read music readily. All that I insist upon is a fairly good voice and a correct ear. I a.s.sume, of course, that all comers desire to learn to sing. Rehearsals must be scrupulously maintained, beginning promptly, continuing with spirit, and not interrupted with disorder of any kind. A rehearsal should never exceed two hours, and a half hour less is plenty long enough, if there is no waste of time. In learning new music, voices should be rehea.r.s.ed separately; that is, all sopranos, tenors, ba.s.ses, and altos by themselves first, then combine the voices. You should place before a choir a variety of music sufficient to arouse the interest of all concerned. This will include much beyond the direct demand for church work. The chorus of The Temple has learned and sung on appropriate occasions war songs, college songs, patriotic songs, and other grades of popular music.
"No one man"s taste should rule in regard to these questions as to variety, although the proprieties of every occasion should be carefully preserved. Due regard must be paid to the taste of members of the chorus. If any of them express a wish for a particular piece, I let them have it. When it comes my time to select, they are with me.
Keep some high attainment before the singers all the time. When the easier tasks are mastered, attempt something more difficult. It maintains enthusiasm to be ever after something better, and enthusiasm is a power everywhere. In music, this is "the spirit which quickeneth."
"In the preparation of chorus work do not insist on perfection. When I get them to sing fairly well, I am satisfied. To insist on extreme accuracy will discourage singers. Do not, therefore, overtrain them.
"An incredible amount may be done even by a crude company of singers.
When the preparation began for the opening of The Temple, there was but a handful of volunteers and time for but five rehearsals. But enthusiasm rose, reinforcements came, and six anthems, including the "Hallelujah Chorus," were prepared and sung in a praiseworthy manner.
Do not fear to attempt great things. Timidity ruins many a chorus.
"Do not be afraid to praise your singers. Give praise, and plenty of it, whenever and wherever it is due. A domineering spirit will prove disastrous. Severity or ridicule will kill them. Correct faults faithfully and promptly, but kindly.
"In the matter of discipline I am a strong advocate of the "fine system." It is the only way to keep a chorus together. The fines should he regulated according to the financial ability of the chorus.
Our fine at The Temple was at first twenty-five cents for every rehearsal and every service missed. It has since been dropped to ten cents. This is quite moderate. In some musical societies the fine is one dollar for every absence. This system is far better than monthly dues.
"The advantages to members of a chorus are many and of great value.
Concerted work has advantages which can be secured in no other way. A good chorus is an unequaled drill in musical time. The singer cannot humor himself as the soloist can, but must go right on with the grand advance of the company. He gets constant help also, in the accurate reading of music. Then, too, there is an indescribable, uplifting, enkindling power in the presence and cooperation of others. The volume of song lifts one, as when a great congregation sings. It is the _esprit du corps_ of the army; that magnetic power which comes from the touch of elbows, and the consecration to a common cause. No soloist gets this.
"Some would-be soloists make a great mistake right here. They think that chorus work spoils them as soloists. Not at all, if they have proper views of individual work in a chorus. If they propose to sing out so they shall sound forth above all others, then they may damage their voices for solo work. But that is a needless and highly improper use of the voice. Sing along with the others in a natural tone. They will be helped and the soloist will not be harmed.
"The best conservatories of music in the world require of their students a large amount of practice in concerted performance and will not grant diplomas without it. All the great soloists have served their time as chorus singers. Parepa-Rosa, when singing in the solo parts in oratorio, would habitually sing in the chorus parts also, singing from beginning to end with the others.
"Many persons have expressed their astonishment at the absence of the baton both from the rehearsals and public performances of the chorus of The Temple. Experience has proven to me, beyond a doubt, that a chorus can be better drilled without a baton than with it, though it costs more labor and patience to obtain the result. To sing by common inspiration is far better than to have the music "pumped out," as is too often the case, by the uncertain movements of the leader"s baton."
With a membership that has ranged from one hundred to two hundred and fifty, skilled business management is needed to keep everything running smoothly.
The record of attendance is regulated by the use of checks. Each member of the chorus is a.s.signed a number. As they come to rehearsal, service, or concert, the singer removes the check on which is his number from the board upon which it hangs and gives it to the person appointed to receive it as he pa.s.ses up the stairway to his seat in the choir. When the numbers are checked up at the close of the evening, the checks which have not been removed from the board are marked "absent."
The bill for sheet music for one year is something between $400 and $500. To care for so much music would be no light task if it were not reduced to a science. The music is in charge of the chorus librarian, who gives to each member an envelope stamped with his number and containing all the sheet music used by the chorus. Each member is responsible for his music, so that the system resolves itself into simplicity itself. In the Lower Temple enclosed closets are built in the wall, divided into sections, in which the envelopes are kept by their numbers, so that it is but the work of a moment to find the music for any singer. An insurance of $1,200 is carried on the music.
Typical of the spirit of self-sacrifice that animates the chorus is the fact that for nearly ten years after the choir was organized, one of the members, in order to reduce the expense for sheet music, copied on a mimeograph all the music used by the members. It was a gigantic task, but he never faltered while the need was felt.
In order to avoid confusion both in rehearsals and at each service, every singer has an appointed seat. There is also a system of signals employed by the organist, clearly understood and promptly responded to by the chorus, for rising, resuming their seats, and for any other duty. This regularity of movement, the precision with which the great choir leads the att.i.tudes and voices of the congregation in all the musical services, the entire absence of confusion, impresses the thoroughness of the chorus drill upon every one, and adds greatly to the effectiveness and decorum of the service.
Most remarkable of all the work of the chorus, perhaps, is the fact that it has not only paid its way, but it has in addition contributed financially to the help of the church. Most choral societies have to be supported by guarantors, or friends or members must reach down in their pockets and make up the deficits that occur with unpleasant regularity. But the chorus of The Temple has borne its own expenses and at various times contributed to the church work.
At the annual banquet in 1905, the following statement was made of the financial history of the chorus since 1892:
Amount Received-- Collections from members $ 2,564.60 Fines paid by members 975.60 Gross receipts from concerts 11,299.40 --------- $14,839.60 Amount Disbursed-- For music $ 2,167.80 For sundry expenses for socials, flowers for sick, contributions for benevolent purposes, etc. 1,035.81 Expenses of concerts 8,506.34 Contributions to church, college, hospital, Sunday School, repairs to organ, etc. 3,050.51 -------- $14,760.46
The chorus has furnished a private room in the Samaritan Hospital at a cost of $250, pays half the cost of the telephone service to a shut-in member, so that while lying on his bed of sickness he can still hear the preaching and singing of his beloved church, and has contributed to members in need; in fact, whatever help was required, it has come forward and shouldered its share of the financial burdens of the church. It is a chorus that helps by its singing in more ways than singing, though that were enough.
Out of the chorus has grown many smaller organizations which not only a.s.sist from time to time in the church and prayer meeting services, but are in frequent demand by Lyceums and other churches. All the money they earn is devoted to some part of The Temple work.
The organ which rears its forest of beautiful pipes in the rear of the church is one of the finest in the country. It was built under the direct supervision of Professor Wood at a cost of $10,000. The case is of oak in the natural finish, 35 feet wide, 35 feet high, 16 feet deep. It has 41 stops, 2,133 pipes, four sets of manuals, each manual with a compa.s.s of 61 notes; there are 30 pedal notes, 9 double-acting combination pedals; all the metal pipes are 75 per cent pure tin.
In loving Christian fellowship the chorus abides. No difficulty that could not be settled among themselves has ever rent it; no jealousies mar its peaceful course. Professor Wood is a wise leader. He leaves no loophole for the green-eyed monster to creep in. He selects no one voice to take solo parts. If a solo occurs, he gives it to the whole of that voice in the chorus or to a professional.
Dr. Conwell reads the hymns with so much expression and feeling that new meaning is put into them. The stranger is quietly handed a hymn book by some watchful member. The organ swings into the melody of the hymn, the chorus, as one, rises, and a flood of song sweeps over the vast auditorium that carries every one as in a mighty tide almost up to the gates of heaven itself. And as it ebbs and sinks into silence, faith has been refreshed and strengthened, hardened hearts softened, the love of Christ left as a precious legacy with many a man and woman there.