ive of the human need of divine help, or some of the comforting promises that console and cheer, will be appreciated. The sympathetic pastor will be glad to suggest what the people most need. Great account must be made of this individuality of need in the congregation to be served, else the music may become an actual hindrance.

It must always be remembered that in the singing of its set music the choir is the representative of the church. As such representative, or, I may say, mouthpiece, of the assembled people, it ought to express what the congregation desires to have expressed, or the representative character is lost. The impulse, that leads the musical authorities to cultivate a class of music above the sympathy and comprehension of the congregation as a whole, is born of the same motive that led to the performance of the church service in Latin and is equally wide of the purpose.

Then the choir leader must take into consideration the style of work and the plans of the pastor of the church, whether the church year is carefully observed or not. Mr. Monk used to choose his music with a single eye to the season of the year and the character of the service. "We never sing an anthem because we like it, or because it is asked for." If the pastor is aggressively evangelistic, seeking to increase his congregation by attracting unchurched people, and winning them to a religious life, the music must keep step with the general movement of the church life, and a more emotional and rhythmical style of music must then prevail. If special services are in view, evangelistic anthems, Gospel songs and men's quartets will be sought. On the other hand, the pastor who emphasizes the divine injunction, " Feed My sheep," and looks after those already in the church and its fam

ilies, will prefer a quieter, more contemplative line of anthems.

Then the detailed plans of the pastor can often be greatly aided by a judicious selection of music. The choir leader should keep in constant touch and communication with him in order to secure the mutually helpful advantages of close coöperation. If the music fits the sermon and the service as the glove does the lady's hand, the choir leader will get the credit and win the greater influence. If the music is in crass discord with the rest of the service, intelligent listeners will criticise the leader, not the pastor, although both are at fault. Close cooperation will be found to add very greatly to the value of the services, and nowhere will it find a more influential expression than in the choice of the music.

Let me again emphasize in this connection that in the choice of anthems there should be no narrowness of standard and no egotistical emphasis of personal likes and dislikes. Dr. Stainer, who certainly ought to be an authority, in an address before a church congress, in 1874, gave a warning that may well be heeded now. "Take care not to think yourselves born champions of a special style, giving no preference to new as against old, or old as against new. Remember the Catholicity of art, and draw freely from all wells . ready to accept or reject solely on the ground of merit."

There are certain recurring seasonable needs in every church and they ought to be provided for long in advance. To wait with the selection of Christmas music until the second week in December, is criminal negligence in any case, but particularly so where the mails are the one means of securing samples and chosen music. The letter is sure to be misaddressed or missent by the postal

clerks, or the orders written in nervous haste are inevitably misleading or vague, if not wholly wrong, or in the rush of trade a clerk pigeonholes the order, or makes a mistake in the order, or writes a wrong address, and all is confusion and vexation, for which the leader usually blames everybody but the guilty one-himself. Samples should be ordered in good time, a selection made, and the final order promptly given, and then there will be plenty of time to rehearse properly. Where the church year is strictly observed, the selection of music is somewhat simplified, but even in this case foresight and promptness will prove all-important.

X

THE FINANCES OF THE CHOIR

HE financial side of the choir presents great difficulties and a wise pastor will win the goodwill of the choir by giving personal attention to its needs. Of course, the expenses of the ideal choir are provided for in the regular church budget, and its bills paid by the church treasury.

If all the choirs were really ideal, our discussion of choir finances would be very short, but," the more's the pity," the choirs whose finances are ideally provided are yet an extremely small proportion of the whole number. My suggestions on the financial line must be practical rather than ideal, and plans must be proposed that make a virtue of necessity.

Let us consider for one moment the necessary expenses: The music that is used from Sabbath to Sabbath must be paid for, of course. In the course of the year it amounts to quite a sum, especially if the choir prefers separate numbers, or octavos, and if it is too ambitious to sing anthems once rendered over and over again. Of course, choir journals cut down this expense very considerably without lowering the standard of effectiveness and beauty in the slightest degree, but still that item of expense is quite important. In addition there is occasional sheet music for solo numbers and special occasions, and, if the choir carries a banner for

industry and aggressiveness, the semi-annual cantata, which also represents considerable expense.

The choir leader and organist must give so much attention and time to the work, that they ought by all means to be remunerated for their services. Too much depends upon their expertness, and upon the financial condition of the individual congregation, that I should suggest a price; but whatever the amount, it should be something. In England the rule seems to be ten per cent. of the minister's salary, which is certainly not excessive.

The congregation values at nothing what it gets for nothing. The moment the people pay for the music they enjoy in their church, that moment they take more interest in it and become more responsive to its influence. The leader and organist will feel a deeper sense of responsibility, and do more efficient work, if a stated sum is allowed them. Their position means more to them and to the choir, their dignity and influence are increased, and the result is beneficent out of all proportion to the amount paid.

When these persons do not need the money they so fully earn, and prefer to make an offering of their talents, it would still be better to allow them a salary, and then let them decide to what purpose it is to be applied and cover it back again into the church treasury. That would put a tangible valuation upon their services that would awaken a larger appreciation than they now receive.

That a large chorus of amateur singers should be paid, is practicable only in a few churches. A volunteer choir of average singers out of the congregation, who have the benefit of efficient direction, are receiving as well as conferring a benefit, and I do not believe they can claim any remuneration. Where a church is wealthy it may be