It is a pleasure to mention the principal players in the orchestra, who are not generally known personally by the audience. It is a case of “by their voices you shall know them,” and their voices enthrall the listeners week by week. First comes Dr. Thaddeus Rich, most popular of concertmasters and an assistant conductor of no mean attainments, who is sometimes called to take the conductor’s place at the last minute, where he acquits himself with honors. As we look farther there are: David Dubinsky, first second violin; Samuel Lifschey, first viola; Hanns Pick, violoncello; W. M. Kincaid, flute; Marcel Tabuteau, oboe; Daniel Bonade, clarinet; Anton Horner, horn; Walter Guetter, bassoon; Sol. Cohen, trumpet; Gardell Simons, Paul P. Lotz, C. E. Gerhard, trombones; Philip A. Donatelli, tuba; Anton Torello, bass; Vincent Fanelli, Jr., harp; and last but not least, Oscar Schwar, tympani. These players all possess the requisites, which seem to be ability to play and ability to obey, for the response of their wills to the will of the leader is what makes success in an orchestra. One noticeable feature about the musicians is their youth; this is patent to the eye, and to the ear, from the virility of their performance. To those who do not see farther than the Academy stage, it would be useless to explain that the conductor’s activities are not confined to stepping briskly onto the platform and leading concerts. People who have given the matter thought must know that he is working all the year round for the Philadelphia Orchestra. The rehearsals are very exacting and the players are wonderfully prepared. Conducting a concert means a physical, mental and emotional strain which is only understood by those who have seen the conductor as he comes off the stage. Leading without a score requires perfect concentration. Painstaking effort and patience on the part of Mr. Stokowski bring their reward in the finish of the performance, but it looks so easy! And therein is shown his skill. Next there is the constant search for new works and the mastering of them before rehearsals can begin. Much time is occupied in hearing and selecting players, for no stone is left unturned to find the best artists for each position. The mail is also a subject of importance, as correspondence is kept up with individuals and publishers and then there are letters of complaint or approval, all to be answered. The conductor is a busy man, whose brain never stops working, planning, devising for the orchestra.