of
them, as well as a mixed class for orchestra.]

Outside the influence that the School exercises by its teaching, its
propaganda by means of concerts and publications is very active. From
its foundation up to 1904 it had given two hundred performances in one
hundred and thirty provincial towns; more than one hundred and fifty
concerts in Paris, of which fifty were of orchestral and choral music,
sixty of organ music, and forty of chamber-music. These concerts have
been well attended by enthusiastic and appreciative audiences, and have
been a school for public taste. One does not look for perfect execution
there,[232] but for intelligent interpretations and a thirst for a
fuller knowledge of the great works of the past. They have revived
Monteverde's _Orfeo_ and his _Incoronazione di Poppea_, which had been
forgotten these three centuries; and it was following an interest
created by repeated performances of Rameau at the _Schola_[233] that
_Dardanus_ was performed at Dijon under M. d'Indy's direction, _Castor
et Pollux_ at Montpellier under M. Charles Bordes' direction, and that
in 1908 the Opera at Paris gave _Hippolyte et Aricie_. Branches of the
_Schola_ have, been started at Lyons, Marseilles, Bordeaux, Avignon,
Montpellier, Nancy, Epinal, Montlucon, Saint-Chamond, and
Saint-Jean-deLuz.[234] A publishing house has been associated with the
School at Paris; and from this we get Reviews, such as the _Tribune de
Saint-Gervais_; publications of old music, such as the _Anthologie des
maitres religieux primitifs des XVe, XVIe, et XVIIe siecles_, edited by
Charles Bordes; the _Archives des maitres de l'orgue des XVIe, XVIIe, et
XVIIIe siecles_, edited by Alexandre Guilmant and Andre Pirro; the
_Concerts spirituels de la Schola_, the new editions of _Orfeo_, and the
_Incoronazione di Poppea_, edited by M. Vincent d'Indy; and publications
of modern music, such as the _Collection du chant populaire_, the
_Repertoire moderne de musique vocale et d'orgue_, and, notably, the
_Edition mutuelle_, published by the composers themselves, whose
property it is.

[Footnote 232: The orchestra is mainly composed of pupils; and, by a
generous arrangement, the financial profits from rehearsals and
performances are divided among the pupils who take part in them, and
credited to their account. And so besides the exhibitioners the _Schola_
has a great number of pupils who are not well off, but who manage by
these concerts to defray almost th