The twentieth season was especially fine musically. It marked the inauguration of the Special Monday Evening Concerts, three in number, which have gradually been increased to ten. Other musical features of the year were Beethoven’s Ninth Symphony; the playing in November, 1920, of “The Pilgrim Vision” by John Alden Carpenter, commemorating the 300th anniversary of the landing of the Mayflower: the three performances in March, 1921, of the Brahms Requiem; and the presentation of Mahler’s Second Symphony, both with the Chorus, trained by Mr. Stephen Townsend, of Boston. It also marked the first appearance, as guest conductor, of the celebrated leader, Willem Mengelberg, of Amsterdam. The year was one of great satisfaction to all lovers of the Philadelphia Orchestra. An organization founded on faith that it would succeed artistically; and on faith that Philadelphia would eventually cherish it to the extent of placing it on a permanent financial basis, had justified the hopes of the founders in both these particulars. The number of musicians had been augmented from eighty-five in 1900, to ninety-six in 1920, and the audience had so increased that hundreds of people were often turned away. All persons therefore interested in the progress of music in the city and especially the ones whose efforts had helped to bring about this result rejoiced in the position now occupied by the orchestra. In addition to delighting music lovers here and elsewhere, the Philadelphia Orchestra was carrying the name of Philadelphia gloriously around the world. CHAPTER VI MUSICAL NEIGHBORS Occasionally philanthropic citizens express the wish that the Philadelphia Orchestra was not conducted exclusively for a few idle rich. Therefore, it is well to record some of the things that the orchestra has done for the general public in this city. The policy of the Association from the beginning has been to make the orchestra the centre of Philadelphia’s musical life in an inclusive, not an exclusive sense. Hence it has always been ready to reciprocate any assistance rendered to it by giving its services free of charge on numerous occasions. Often, of course, financial conditions had to be considered first. Among the societies that have co-operated in choral performances, without recompense, and, no doubt, at considerable expense to themselves, are: the Eurydice Chorus, Fortnightly Club, Jungermaennerchor Singing Society, Mendelssohn Club, Philadelphia Choral Society. Outside of Philadelphia the Bach Choir of Baltimore,[37] Schola Cantorum of New York, and Pittsburgh Chorus. [37] See Appendix G.