The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1897-05-23

Of the Saint Chappelle in Paris QS79) At
the rehearsals the chorus singers took
lively fancy to this ancestral music.
. But where did you unearth that they
asked me-.
= 'Uaearth is very nearly the right word
for It, / answered without hesitation. 1t
was found in a walled-up closet during the
recent restoration of the Sainte-C happeHe.
1t was written on parchment in the old no.
ciphering.
s'The Concert takes place. Pierre Ducris
piece is very well given and sun peter re-
next day and congratulate me upon my DIS
covery Only one hints at some uouDtS
about its authenticity and age which
proves, whatever you may say to the con-
trary, Gaui Halter that you are, that there
are men of wit everywhere. another CRIT
ic goes into tears over the misfortune or
that poor old master, whose musical lns s
ration is only revealed 70 Parislans aItgr
a hundred and seventy-three years OF OBJ
security. For, he. says, none OF US ia. ,5au
ever heard OF him, and NJ. Fets,s BIO
graphical Customary OF musicians t M,cn
Next Sunday Due being at the house of
a young and beautiful lady. who IS ex-
great disdain for all modern productions
when she knows their date, he thus al
dressed the queen of the drawing room:
We'll, madam, what did you think OF our
last concerto
oh, / thought it very much of medley
And the piece of Pierre Ducre%
Perfect. delicious! There is music!
Time has rubbed off nothing OF It's Ireshc
ness. 1t is true melody, the scarcity or
which our contemporary composers make
us feel quite amply enough. 1t is not your
friend, NJ. Berlioz, at all events VINO VIII
ever write anything like that.
AT these words Due could not help
bursting out laughing, and had the lmpru-
dence to reply: Alas madam but it was
my friend, NJ Berlioz, who wrote the Fare
well of the Shepherds, and wrote 1t In my
presence, too, one evening, at the corner OF
an ecarte table The fair lady bites her
lips, the roses of vexation flush her pale
ness, and turning her back upon Due, she
filings him the cruel phrase: M BerhoZ Is
an impertinent fellow! You can, imagine,
my dear Ella, my shame when Due re-
peated the apostrophe to me- | fastened
to make amends by humbly publishing the
poor little work under my name, still
keeping the words Attributed to Pierre
Ducre. an imaginary chapel master: In its
title to remind me of my culpable fraud.
The overture and chorus from nMassa7
niello" otherwise La Muette de Portici .
introduced the second part of last evening.
The opera has its history and mas even
made history 1t was in 1880. Massa-
nielo" had just been produced, ana by It's
holiness and revolutionary spirit stifred up
performance al Brussels the eXiled visitors,
swelled by crowd of people, started the
riots, demolishing several Ruohc pn1l e,lipe
tertiary out of the city, in consequence OF
which the open revolution followed IN
which Belgium freed itself.
After the intermission Mr. Ernestinoff
assembled the directors stand to conduct
the overture and chorus from Auber S
"Massanielo" The universally popular
director was greeted with widespread APP
plause. The audience evidently was con
scious of the tremendous task which Mr..
Ernestinoff has performed and desired to
show its appreciation.
It could almost have been prophesied the
fishers chorus would not be a success, al
though it was begun with great freshness
and spirit. Towards the close 1t became
noticeably insure, and vas oy fa a the
weakest performance by the chorus during
the whole festival.
from Holland. A good anecdote is told Of an
interview Of AG6er With = Charles Io h have an M
idea of the good your work has done me.
How, sire?"
All revolutions resemble each other. To
sing is to provoke one. what can
do to please your?
All sire, l am not ambitious"
II am disposed to name you director OF
the court concerts: BE sure that ! shall re-
member YOU But" added he, taking the
artists arm with a cordial air. from this
day forth Mr. Auber, l expect you to bring
out 'Massaniello' but very seldom.
The two numbers from St Saens,s Al
the first one Mr.. Richard SchlieWen had a
short violO solo, which ne rendered with
characteristic delicacy. The composition lis is
very rich in local colorlng, ana on the
whole extremely interesting.
The festival found q fitting close in Gou-
mods magnificent chorus, Unfold Ye Por-
tails" The rich volume of tone, the solem-
nity. and yet the electrifying brilliance,
of the choral part, the precision OF attack,
the perfect support of the orchestra, the
fairly affectonate enthusiasm of the chorus
members in their desire to do their best IN
the final number, all these elements COM
bined TO produce a song of parting whose
grand tones will live long in the memory OF
persed with many expressions of pleasure
and satisfaction. RICHARD LlEbEF.