As indicating the impression made by this organization on the centres of musical culture in the United States we may quote the following from Philip Hale's criticism of its first performance in Boston: 'It is not too much to say that its performance was a revelation to even those who heard the celebrated choruses of this country and in European cities. Other choruses may show a high degree of technical perfection; they may be conspicuous for decisive attack, perfect intonation, unvarying precision, fleetness in rapid passages, the management of breath or distribution of singers that insures musical and rhetorical phrasing. The Mendelssohn Choir is thus conspicuous, but it has other qualities that are rare in choirs even for a small and carefully selected number. This choir of Toronto is remarkable for exquisite tonal quality. In piano passages the tone is as though disembodied. There is no thought of massed singers or of any individual singer. The vigor of these singers never approached coarseness, and in fortissimos that were "as the voice of many waters" there was always the suggestion of reserve force, so that there was beauty in strength. There were delicate nuances in the performance, sudden and surprising contrasts without disturbance in rhythm and without loss in purity of intonation. These nuances and contrasts were apparently spontaneous.' H. T. Parker wrote on the same occasion: 'In our musical generation Boston has heard no such choral singing as that of the Mendelssohn Choir in Symphony Hall, last evening, and applauded no choral conductor of such ability as its leader, Dr. Vogt. Now, whether the singers be one or two hundred, a beautiful tone, an expressive tone, a varied tone, is the sum and the substance, the beginning and the end of musical impartment. No choir, no choral conductor, has so mastered these secrets or gone so far in high and various attainment in them as Dr. Vogt and these Torontans. It seems almost pedagogical, before these higher achievements of the Mendelssohn Choir, to rehearse the technical skill of the choristers and their conductor--their fidelity to the true pitch, their decisiveness of attack, their precision of utterance, their separate and collective command of vocal technique, their sense of pace and rhythm. Like unanimity and a unique sensitiveness equally distinguished the singing of the choir on its expressive, its poetizing, its dramatizing side.' IV