An institution composed of sharps and flats rather than bricks and mortar, the Pierian Sodality is older than most of the more orthodox structures of the University, Memorial Hall included. Founded in 1808 by students anxious to improve their instrumental skills, the Sodality (Latin for fellowship) was at first more a social congregation than a note-following gathering. Yet their early addiction to mellow spirits rather than spirited melodies in no way obviates their claim to being "the oldest musical organization in America"-as well as Boston.

Now the guiding light of the Harvard Orchestra, the Sodality was also functional in creating the first Professorship of Music in America; assisted in founding the Boston Symphony Orchestra; and gave a parental nod to the Harvard Glee Club. During their first years together, members vocalized as often as they scraped G-strings and on the first anniversary of the Sodality, "a number of appropriate songs were sung.... The greatest order and harmony were observed." But constant mixing of song and sonata had its drawbacks, and in 1858 the Glee Club broke away, leaving its parent organization to roam its scales alone, accompanied with such comments as "met and played like thunder...met, practiced, liquored and adjourned." Castigations of certain instruments were a common thing for "even the cello...persisted in being obstinate and unruly. Altogether...a shameful meeting." "Few of us...will forget the pathetic strains of the bassoon...or the complaining notes of the squeaking flutes, interrupted as they were by the sobs of the performers."

By the turn of the century, the musicians had filled their outfield with kettle drums and bass viols, and fielded a polished team. The Orchestra then separated from its Pierian godfather and soon became an established outfit, addicted to the unusual and articulating the unique. The Sodality remained the more honorary group, bulking its ranks with time-tested members of the Orchestra, directing policies but not andantes.

The Orchestra's interest in both the new and the old was well demonstrated by Wednesday's concert which included an original student work and an ancient suite by Purcell. The suite, a selection from "The Virtuous Wife," is as faithful a standby as its title would suggest, and was unearthed from a manuscript in the British Museum by Conductor Malcolm Holmes. Other little-known works brought to light in the past have been "The Blessed Damosel" and "Variation on 'Mary Had a Little Lamb,'" the last-named written especially for the Orchestra. But despite its penchant for straying off the beaten soundtrack, the Sodality has developed a reputation for artistic presentations, and is now safely removed from the danger it was up against in 1832. In that year, the entire membership was concentrated in one flute player, a man who played alone with only tradition to direct him. The success of the recent concert showed the flutist played his part well.