CHORAL SOCIETIES. A choral society is a body of amateur singers formed for the purpose of studying and performing large choral works. Formerly all chorus singers were professional musicians, and the chorus that took part in the production of an oratorio did not usually number over 40, while the orchestra was frequently, larger than this.
To-day all choral societies consist of ama teurs and are much larger than their profes sional predecessors, while the orchestra is only slightly increased in size. An. average chorus numbers 150 to 200 voices, while the orchestra varies from 35 to 60 men. It is possible that the magnificent effect of the chorus formed to celebrate the centenary of Handel's birth by performances given in Westminster Abbey and the Pantheon in London in 1784 may have been a great factor in the formation of choral so cieties in England. This chorus was the largest that had ever been formed up to that time. 'It numbered 274 and the orchestra 251. At a spbsequent festival in 1791 the chorus and orchestra were said to have numbered over 1,000, while for the Handel Festival held in the Crystal Palace in London in 1874 the chorus numbered 3,200 and the orchestra over 500.
It is very doubtful, however, whether such a large body of singers and players is very materially more effective than a smaller one. The impression on first hearing an enormous chorus is nearly always one of disappointment at the volume of sound. The explanation is made that the large hall necessary for such a large chorus and audience causes a loss of quantity of tone, but this is disproired by com parisons made at a Saengerfest held in Phila delphia, Pa. Here the effect of the entire mass chorus of 5,000 male voices was not much greater than that of a single society of 250 voices. There was a difference, of course, but the volume was not 20 times greater, not even twice as great.
A well-balanced chorus of from 200 to 500 voices is now generally acknowledged to be more effective and much easier to command than the overgrown chorus assembled for a festival. Choruses of this size are very numerous in the United States, Germany and England,.where choral work, both religious and secular, is highly appreciated and supported. It is remarkable that France and Italy, both musical countries and more devoted to vocal than to instrumental music, do not cultivate choral music more generally. Even Berlioz in writing out his list of an ideal musical force to have at command makes his orchestra almost equal in number with his chorus, showing that he had a professional chorus in mind, and that therefore in his time (died 1869) a choral society of amateurs was perhaps unknown.
The Berlin Singakademie, still in existence and world renowned, was the first permanent choral society. Founded in 1791 with 27 mem bers it now numbers 600. Mendelssohn was at one time its conductor.
In the United States the first choral society was the Stoughton (Mass.) Musical Society (1786), the outgrowth of a °sacred singing school" founded in 1724. The Handel and Haydn of Boston (1815) was of much greater importance, however, and is to-day one of the most important choral societies in the New World. Until 1847 the president of the society was its conductor, but with the increase of musical ability and criticism it was felt that the time-honored custom would have to be given up. Under Bergman (1852) and Zerrahn '(1854) it increased in numbers and ability. Within the last few years under Mollenhauer a thorough reorganization took place and the society 'rapidly recovered the position which it had to some extent lost.
The Cecelia Society, founded in 1900, under the direction of B. J. Lang, has done good work in the field of choral music.
In New York a number of choral societies, the Handel and Haydn, the New York Choral Society and the' New York Sacred Music So Ciety, dating from 1819 to 1849, fostered the taste for choral music. After this for more than 20 years no long-continued effort was made to carry on the work, until in 1873 Dr. Leopold Damrosch founded the Oratorio Society which, beginning with about 50 mem bers, now numbers nearly 300. Walter Dam son of Dr. Leopold Damrosch, succeeded him as conductor, and Frank Damrosch, an other son, was conductor from 1898 to 1912, when Louis Koemmenich assumed control. 'Frank Damrosch is also conductor of the Mu sical Art Society, devoted to the performance of older church music, and the People's Choral Union of 2000 voices drawn from the classes. The organization has three classes of members—those constituting the 'elementary class, the advanced class and the 'choral union proper. Any self-supporting man or woman may join the elementary class, where 'thorough instruction as to the proper use of the voice and the rudiments of music is given. From this class the pupils are promoted to the .advanced class, whence upon graduation they pass to the choral union. The attendance at the various classes numbers about 2,500, 450 -and respectively. Meetings are held every Sunday, and once, in May, a public con cert is given. Another important New York society, the Arion, was founded in 1854. Its membership is about 1,200.