St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1884-04-14
The Christian Passover or
Festival Of the Resurrec-
ton of Our Lord.
Celebrated Yesterday All The
World Over, and in Every
Language Of Men.
How the Glad Easter Day Was OBJ
served by the Principal Church.
es in st. Paul.
With Songs of Rejoicing, With Lovely
Offerings of Floral Wealth, and With
Praise and ExhortatiOn.
The Cathedral.

The Cathedral.
The Cathedral was yesterday crowded at
each of the four masses. The greater portion
of the parish congregation received commun-
ion at early mass g o'clock, the Father
Matthew Total Abstinence society receiving
holy communion in a body. At 9 O'Clock
mass the Crusaders society attended in quite
goodly numbers, and partook of the sacra-
ment. Coadjutor Bishop Ireland celebrated
pontifcal high mass at 10 o'clock, with the
Reverend Father Danehy as deecon, Rever-
end Father Riley as sub-deacon,
and Reverend Father Stanley as master
of ceremonies. His grace, the venerable
Bishop Grace, assisted at the mass, seated
upon his throne, and supported by the Rev.
Fathers Ravoux and Lynch. The grand old
edifce presented most gala and imposing
appearance, tie several affairs being decorated
with rare exotics in profusion, and entailing
the very highest praise upon the ladies Of the
congregation, whose hAndiwork it was The
mechanical fixtures for lighting the high altar,
on which a symbolical star was erected, de-
serve more than passing mention. Under
the flood of gas and candle light the effect
was grand in the extreme.
One Of the most important, eloquent and
edifying sermons was preached by the
Rev. Father DanehY, who took his text from
the sixteenth chapter of Saint Mark: ''He
is risen, He is not here - and the eloquence
of the reverend gentleman served to fasten
the marked attention of his immense au-
dience from the commencement to the close
of his discourse
There were more than 1900 commune
cants at the masses.
The pontitcial high mass, which was sung
by a solo quartet, consisting of Miss Annie
Schonarth, Mrs. Winnie Mitchell, Mr.. Henry
McLachlin and Mr. Hildebrand, chorus of
twenty-four voices, and Seibert's full orches
ira, assisted by Mr., Tom Karl and several
other ladies and gentlemen of the Boston
Ideal opera company who very kindly lent
their services, was Haydn's No. 2 in &C."
Professor Manner conducted, and kept his
forces well in hand. We give a short
resume of the music for the benefit of
our readers. The first number. the
t'Kyrie Eleison" opens with q very soft
a,ldd,lte movement which gradually becomes
.tortiSSinto until the allegro movement is reach
ed. The allegro opens with a fine soprano
solo, which was nicely sung by Mrs. Mitchell,
the chorus later taking up the same melody.
After this chorus is done the alto (Miss A
Kelley repeats the s2we movement in diff
ferent key, which the chorus again take up
and carry on to the end, with good effect.
The "Gloria" opens with chorus and full or
chestra in an allegro UiyGce
movement Here it was particularly
noticeable how well the singers and players
had been rehearsed, as the quick attack and
great precision of their work was admirable.
Mr.. Manner sang the next number, the "Qui
Tollis.' Here he had a grand opportunity
for his fine voice, and did the work and him
self every justice The strings were at times
faulty in this number, especially the cello,
which was trife out of tune. The "Quo-
niam'' followed, a very fast movement, in
which the tenOrs had some very heavy work
They were equal to the occasion,
however, and when the "Cum Sancto'' was
reached the whole body of performers had
their work cut out for them. The "Amen'
was very fine, especially where the wind in
struments take up the theme and go ON to
the finish. The "Credo" opens with an
allegro movement. The bassOs begin and
are followed by the tenOrs altos and sopranos
in quick succession until the SET Incarnatus'
is reached, which is Il very solemn and slow
movement for bass solo. The chorus then take
up the theme, which is very soft and beautiful
until the GET Vitamn is reached, when all
the performers are again called on. Here
We have one of Haydn's best pieces of choral
and orchestral writing. After grand open
ing the solo quartette gives fine change to
the heavy work by delicate little quartette.
The chorus again attack the ''Amen,n which
is extremely brilliant, especially for
the instrumentalists. The effect was
grand and it was admirably sung
by the chorus. The 'offertorY'' was
Millard's "Ava Yerum,' sung by Miss
Schonarth. She sang beautifully and with
great taste, uut we should have been better
pleased had the organ accompaniment been
played much softer, as in some places her
voice was completely lost. The next num-
her was the ''Sanctus," for tenor solo and
chorus. Mr.. Henry McLachan was the solo
ist and did his work in really mastery style,
his phrasing in the quick passages being excel
lent The ''Benedictus" which fol-
lowed this is very solemn and i'm
posing piece of musical composition, and
was sung by Miss Schonorth, Miss Smith,
Mr.. McLachan and Mr.. Grote, very beauti-
fully, The voices blended finely together and
ii was really one Of the gems of the mass.
The 'Agnus'' and ''Dona' brought the work
to a conclusion, the final ''pacem' for chorns
and full orchestra, double forte, having
grand effect, and noble
finale to one of Haydn's
masterpieces. Lambilotte's ''Regina Celi,"
sung by Miss Lizzie Ryan and Miss Estella
ZenZius, with chorus and full orchestra,
brought most imposing ceremony to a
close.