74 History of Wake Forest College
at the chapel services, and came under the training of Dr. Kemp P.
Harrington, director of the glee club of the University. Later, while a
student of Columbia University he had considerable experience in
choir work in the University, and had been a member of the choir of a
great New York Church, and had the advantage of the training of its
able director. On coming to Wake Forest he took charge of the music,
both at the chapel service and at the church. He trained a church choir
and a glee club. As a result of his efforts a pipe organ of good size and
tone was secured from the Centenary Methodist Church of Richmond,
Virginia, which was in Wingate Memorial Hall early in the year 1905,
and served for worship both at chapel and church services for ten
years. He soon had one of the best church choirs in the South. His
glee club was of like excellence. He also trained a notable quartette,
consisting of himself (second tenor), and Professors Lake (first tenor),
W. L. Poteat (first bass) and C. E. Brewer (second bass), whose
services were soon in much demand all over the State. In addition he
did the College a great service by securing the production of the
Wake Forest College songs-"O Here's to Wake Forest," by C. P.
Weaver, "O Alma Mater, 'Tis Thy name," by G. W. Paschal, and
"Dear Old Wake Forest," author unknown, probably Eatman himself,
and "God Bless Wake Forest Dear," by G. W. Paschal. All were
written for the tunes he suggested.
After the departure of Eatman in May, 1907, his mantle fell on
Hubert McNeill Poteat who had a double portion of Eatman's spirit.
Being the son of Dr. and Mrs. W. L. Poteat, the new director had a
good musical inheritance, and from early childhood that native
endowment has been cultivated. When he was of proper age he was
put under the instruction of the musical faculty of the Baptist
University for Women (Meredith College), the head of which found
him "a talented boy." The young Poteat had assisted Eatman in his
choir and glee club training, and had been organist of the church from
1900. With this equipment he continued to direct the music of the
chapel and church until September, 1908, when he went to Columbia
University, where he
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