He is to-day one of the most widely known organists of the country, being acknowledged everywhere a master of the instrument. He is a member of the faculty of the Philadelphia Musical Academy, principal of the music department in the Pennsylvania School for the Blind. It is said he has trained more good organists than any other teacher in Philadelphia.
His cheery, kindly personality wins loyalty and devotion at once. His Christianity is the simple, loving, practical kind that fairly shines from his presence and attracts people to him immediately. The members of the Chorus of The Temple are devoted to him. No rules are required to keep them in order; no other inspiration to do their best is needed than his simple wish.
In the old church at Mervine and Berks streets he had a volunteer choir of about twenty, all that the little organ loft would accommodate. They could sing as the birds sing, because they had voices and loved it, but of musical training or education they had little. They were drawn from the membership of the church, composed of poor working people.
From this nucleus grew the chorus of The Temple, which was organized in 1891, six weeks before the membership took possession of its new building. With the organization of this large chorus, Professor Wood faced a new and difficult problem. How was he to hold from one hundred to one hundred and fifty people together, who were not paid for their services, who were not people of leisure to whom rehearsals are no tax on time or strength? These were nearly all working people who came to rehearsal after a day's tiring employment. That he has succeeded so splendidly in these fourteen years proves his fine leadership.
He had a body of workers devoted to the church, people before whom was ever held up the fact that they could serve the Master they all loved by singing, if they could in no other way; that they could give their voices, if they could give nothing else. He had a body of workers devoted also to himself, who would have followed him unhesitatingly no matter what commands he lay upon them. But he felt they should have some other encouragement, some other interest to hold them together, so almost immediately upon their organization he took up the study of Haydn's "Creation." It seemed a stupendous undertaking for a young and inexperienced chorus, one with no trained voices, few of whom could even read music at sight. But they plunged into the study with spirit. No incentive was needed to come to rehearsals, no one thought of dropping out. Indeed, the opportunity to study such music under such a master brought many new members. And in the fall of that year the oratorio was given with splendid success.
This method has been followed ever since. Every year some special work is taken up for study and given in the fall. It is an event that is now a recognized feature of the city's musical life, eagerly awaited by music lovers not only of Philadelphia but of nearby towns. In addition to Haydn's "Creation," which has been sung four times, the chorus has given Handel's "Messiah" three times, Mendelssohn's "Elijah" twice, Beethoven's "Mount of Olives," Mendelssohn's "Hymn of Praise," Miriam's "Song of Triumph." It has also given a number of secular concerts. For all this extra work neither Professor Wood nor any member of the chorus has ever received one cent of pay. It is all cheerfully contributed. The oratorios are given with a full orchestra and eminent soloists. In the secular concerts the music is always of the highest order. Guilmant, the celebrated French organist, gave a recital at The Temple while in this country. The chorus believes in the best, both in the class of music it gives and the talent it secures, and has long been looked on by those interested in the city's musical welfare as a society that encourages and supports all that is high and fine in music. Among the selections given at the Sunday services are Gounod's "Sanctus," the magnificent "Pilgrim's Chorus," the "Gloria," from Mozart's "Twelfth Mass," Handel's beautiful "Largo," the "St. Cecilia Mass," and others of the same character.
The plan of fining members for absence from rehearsal, which was adopted at the time the chorus was organized, has also had much to do with its success, though it is rather unusual for a choir. Instead of being paid to sing, they pay if they do not sing. The fine at first was twenty-five cents for each failure to attend rehearsal or Sunday service. Many shook their heads and said it was a bad idea, that the members wouldn't come and couldn't pay the fine, and that the chorus would go to pieces. But the members did come, and when for any reason they were compelled to stay away they cheerfully paid the fine and the chorus flourished. These fines helped to pay the current expenses of the chorus. In the last three years the amount has been reduced to ten cents, but it still nets a sum in the course of the year that the treasurer welcomes most gladly. A collection is also taken at each service among the members, which likewise helps to swell the chorus treasury.
Speaking of the organization and work of such a chorus, Professor Wood says:
"In organizing a church chorus one must not be too particular about the previous musical education of applicants. It is not necessary that they be musicians, or even that they read music readily. All that I insist upon is a fairly good voice and a correct ear. I assume, of course, that all comers desire to learn to sing. Rehearsals must be scrupulously maintained, beginning promptly, continuing with spirit, and not interrupted with disorder of any kind. A rehearsal should never exceed two hours, and a half hour less is plenty long enough, if there is no waste of time. In learning new music, voices should be rehearsed separately; that is, all sopranos, tenors, basses, and altos by themselves first, then combine the voices. You should place before a choir a variety of music sufficient to arouse the interest of all concerned. This will include much beyond the direct demand for church work. The chorus of The Temple has learned and sung on appropriate occasions war songs, college songs, patriotic songs, and other grades of popular music.
"No one man's taste should rule in regard to these questions as to variety, although the proprieties of every occasion should be carefully preserved. Due regard must be paid to the taste of members of the chorus. If any of them express a wish for a particular piece, I let them have it. When it comes my time to select, they are with me. Keep some high attainment before the singers all the time. When the easier tasks are mastered, attempt something more difficult. It maintains enthusiasm to be ever after something better, and enthusiasm is a power everywhere. In music, this is 'the spirit which quickeneth.'