The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1895-11-18
GRAND SACRED CONCERT.
St. Thomas College Hall Mas FILLED
with Lovers of Music Last Night.
THEY WERE RICHLY REWARDED
Given Under tho Auspices Of the Choir OF
ST. Peters Cathedral and Director w.
p. Schilling. Assisted by Local Art
lists - Lecture ON Mozart.

Lovers of music were afforded a
measure of enjoyment. seldom equalled,
in the first sacred concert of the season
last night at St. Thomas college hall,
under the auspices of the Cathedral
choir, W.. p. Schilling director. Those
contributing to the pleasurable occa-
sion We're: Rev. d. ]. MacGOldrick.
lecturer; Miss Edith Du Bois, soprano;
Howell Davis, tenor; j. I. watkins,
bass; F. F. Kopff, violinist; Scranton
Liederkranz, and Miss Lillian &. "A.
Hammett, accompanist.
There were thirty-six voices In the
choir as follows: Sopranos, Mrs. F. w.
Schilling, Mrs. Minnie Doyle. b. La
velle, Anna Sheeam, Margaret Kane.
Margaret Murphy. Mamie Burke, Nellie
Clorty, Lizzie O'Boyle, Mamie Manley,
Agnes G. Riley; altos, Mary E. Keefe.
Lizzie Snow, Nellie Charles, Nellie
Ryan. Mayme Mahon, Belle Philbin,
Cecilia O'Boyle. Maggie O'Boyle, Kath-
arine Shea; tenors, +. Francis Mellon,
James j. Folan, John Klasen. James
Doyle, Ed. Walsh, T. v. Blewitt, Joseph
A. Murphy, John Sheridan; bassos, w.
r. Bradbury, Thomas P. Murphy,
James J. Mahon. Peter F. Howley. Mat
thew Snow, william Kenney, James
Hays, John j. Keegan.
The programme consisted Of ten num-
bers. and every one of them was a treat
in ITSELF Every seat In the hall was
taken, and the audience was very ap-
preciative.
The Introductory Number.
The Gloria from Won La Hache was
the Introductory number; the choir
sang this with great tenderness and
finely modulated effect and was accord
ed fitting ovation. Without any in
PRODUCTION Father MacGoldrick ap-
peared on the stage to lecture on Mo-
zart, the immortal composer. The
speaker commended the work Of Pro-
fessor Schilling in the field of music in
this city.
h MOzart's requiem mass was reviewed
in a manner which places Father Mac
GOldrick prominently as musical
critic. Nothing like Mozart's requiem,
said he was ever before or since written,
1t Is sublime, terrible and majestic The
composer died in 1871, at the ago of
35 years. Up to that time he had
written much vocal and instrumental
music. and many of the masses now
sung In churches were his works. There
Is a charm about his music, half oper-
attic and half sacred, that Is sublime
Fifteen masses were written by him.
When he was engaged on his last
opera, a stranger came to him one day
and gave him full permission to write
a requiem mass, to take as much time
at 1t as he pleased, but to do it with
the exercise of all his genius. Mozart
had lived a life which was devoid of
religion and he began on the requiem
feeling, that he was writing his own
funeral dirge, for after he had finished
the mass he died, and his place Of
repose Is not known today Some say
that he did not complete the mass, but
submitted the conclusion of 1t to a
friend. -.-
Requirements OF a Requiem.
Father MacGoldrick would look at it
as the work of Mozart In order to
understand what requiem is one must
know that the church regards 1t not
as the mere commentator of the vir-
tues of the dead person for whose soul
the mass is offered. 1t is the supplica.
tion asking God to have mercy on the
soul departed. The composers NOR
tality was fast approaching and the
doctors took the work away from him.
+ The speaker went on to give a de-
scription Of the requiem. The "Dies
lrae" is the peculiar characteristic Of
1t, because It is a description of the
incidents Of the general Judgment.
What Mozart has left behind him shows
that he felt what he wrote Standing
on the brink Of eternity this man, hav-
Ing abandoned during the vigorous
years Of his life all that savored Of
religion, he wrote a work Of music that
leaves behind 1t pulsations of dread
after the beauty Of 1t has been per-
ceived. The "Dies Irae" of the requiem
Is so majesticalIy terrible and sub.
timely suggestive that the priest is
often caused to stand thrilled in the
celebration Of the sacrifice while the
choir Is singing this part. The earth
itself seems to shake at the thoughts:
Day Of wrath, that dreadful day,
When sun and earth shall pass away.
In only one or two places he seems
to have forgotten his terrible dread.
and to have written in an even strain.
The Sanctus of the requiem Is consid-
cred the most sublime of church music.
1t has never been explained why; the
rhythmic measure Is the cause given, for
the music is fraught with such an am
plitude Of sublimity. The Benedictus is
a confluence Of rhyme; but his dying
he wrote the "Agnus Del" Of the
requiem.
Signing of tho Night Wind.
The movement in different keys
makes one think he hears the night
wind signing over his own newly made
grave. The reverend speaker invoked
eternal rest for the composer and as
sured his hearers that what he had
said of the requiem would be verified
when they. at some future concert, un-
der the same auspices, shall hear 1t
sung. :. t..
Miss Edith Du Bois, OF this city, sang
Coccia's ave Maria" soprano solo,
arranged so as to require voice cul-
ture Of high order to render it. Miss
Du Bois fully sustained the require
ments. She sings with sweetness and
remarkable. flexibility, running from
the high notes with gradual cadences to
the diminuendO scale in a we'll modulat-
ed breath.
"Waldmorgen," a woodland chorus.
was given by the Scranton Lieder-
kranz. The volume of music was grand
and inspiring. The voices responded
like magic to the wand Of Director F..
F. Kopff. Long, continued applause
greeted the singers and 1t did not cease
until they had returned from the stage
to their seats In the auditorium.
Mrs. Schilling, Miss Minnie Doyle and
Howell Davis sang a trio from Nicalao.
Its title is. "Ti Prego o Patre," and it
,is. a rich. composition and fraught with
melody. Their voices blended admir-
ably. The only recall Of the evening
was given to Professor Kopff when he
favored the assemblage with three vio-
lin solos.
Watkins Sang Rock Of Ages.
John T.. Watkins, the always popular
artist. was warmly greeted and he sang
Rock of Ages" In magnificent style.
The choir sang Won La Hache's Sanctus
and Howell Davis followed with 1.-The
Holy CITY," that exquisite HYMN The
rich, clear tenor strains of the singer
received their Just need Of applause.
The last number was the "Laudamus
Te," by the choir. Mrs. Schilling sang
the solo parts.
Right Reverend Bishop O'Hara and
several priests Of the city and neigh
boring parishes were present.
THE NEW CONSTITUTION.