In the meantime the only choral organization in the American continent that can compare with the premier European ensembles has been developed in Canada. The fact is not without its significance. The Toronto Mendelssohn Choir, to which we refer, stands out among American choirs even more prominently than does the Boston Symphony Orchestra among American orchestras, and its marked preëminence has been acknowledged without a dissentient voice by the whole body of critical opinion in this country. It was founded in 1894 by Sir Edmund Walker, Dr. A. S. Vogt, Dr. Harold Clark and Messrs. W. E. Rundle, W. H. Elliott, A. E. Huestis, and T. Harold Mason, and since the beginning it has been under the conductorship of Dr. Vogt. The general policy of the Toronto Choir is the study and performance of works concerning practically the whole range of choral composition, including all forms of _a cappella_ work, operatic excerpts, standard oratorios, cantatas and lesser forms. Among the more important works performed by the choir may be mentioned Brahms' 'German Requiem,' Verdi's 'Manzoni Requiem,' Bach's 'B Minor Mass,' Wolf-Ferrari's 'The New Life,' Elgar's 'King Olaf,' 'Caractacus' and 'The Music Makers,' Pierné's 'The Children's Crusade' and Coleridge-Taylor's 'Hiawatha' and 'A Tale of Old Japan.' Included also in the repertory of the choir are smaller works by Palestrina, Lotti, Elgar, Hugo Wolf, Granville Bantock, Percy Pitt, Max Reger, Tschaikowsky, Moussorgsky, Sibelius, Rachmaninoff, Gretchaninoff, Brahms, Richard Strauss, Nowowiejski, and others. Besides its annual cycle of five festival performances at home the Toronto Choir has made frequent visits to the more important musical centres of the United States. It has given three concerts in Chicago, two in Cleveland, seven in Buffalo, four in New York, and one in Boston.