The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1903-04-26

house I'm Paris. BY her win she left
20 The city of Paris a fund of 100000
francs.
A monument of Hector Berlioz has
been erected al Monte Carlo I'm the
park surrounding the theatre The
monument consists of a bronze bust
by Leopold -Bernstamen. resting on a
pedestal, with bas reliefs, by Paul
ROssel.
Fritz Steinbach, on his leaving Mein-
ingen after fifteen years service. re-
ceived many presents from his admir-
ers The members of the court orches-
ira gave a picture of themselves, the
ladies' of the singing society a piece
OF tapestry, and subscribers 10 the
concerts a candelabrum His success
sor William Berger of Boston. has re-
ceived the title of professor from the
emperor of Germany.
-
Probably no more startling attempt
at revolt in the field of ecclesiastical
music has occurred for centuries than
that Swallowed forth in the cabled an
nouncement that the Able Perosi, the
new head of the pope's choir. has petit
toned the pOntin 20 be permitted TO in
troduce female singers into the choir
of the Sistine chapel A woman has
never been permitted 10 sing in this.
the pope's own church. and the choir,
which consists normally of thirty two
voices, has for centuries been recruited
from the best singers of the Catholic
countries of Europe. the sOpraui and
cQntralu being always boys or men,
some of whom possessed voices that IN
tlmbre and quality were very closely
allied TO the female voice But Of late
years the choir has grown steadily
worse. because of the inability Of the
Maestro di CapellO 10 recruit his forces.
the male soprano having fallen into
dlsrepute and the tenor not beitg con-
sldered suitable for the proper per-
Torrance of the music. The modern
Per0si, In his scheme of reform. pro-
poses to make an effort TO restore, by
means OF female voices, the singing of
the Sistine choir 20 It's former glory.
The musical services in this chapel
have been the admiration of ages and
many travellers have paid their tribute
90 the magnificent performances. The
Sistine choir also stands as the symbol
of a great deal that has been done i'm
The development Of music. and 10 can
trace its record back to A. d. 315. when
the holy sylvester started a school for
church singers in Rome. To grew under
various pontifs. had its periods Of bril-
hancy and depression. and even sup
preston when the vainglorious singers
had to be brought up with a round
turn because of their departure from
their real purpose as auxiliary tO-the
ceremonial of the church and put forth
into the right road again by the reforms
of Palestrina.
Various pOpes. as they were either
artisically or simply inclined, changed
the policy of the choirs work. but, on
the whole. the choir was an immense
factor in preserving not only the noble
simplicity Of the GregOriau plain chant
but also the more elaborate music.
whose ricn effect has been felt by so
many visitors. The singing of tas
body of singers has aided the impress
siVeness of the solemn ceremonial of
the church in a remarkably degree
Special music written for this purpose
was treasured as a sacred trust and it's
publication forbidden under severe pen
alties, notably the Mlsere OF Allegri
which resolutions were, however. set at
naught by the youthful Mozart. who.
after listening 10 the music. wrote ID
down from memory and thus gave IL to
the world.
Nine Marcella Sembrich of the Grau
opera company did not finish her mart of
the performance of "rhe Magic Flute
at the matinee performance iu Chicago
recently. Instead she precipitately ieft
the theatre angered either by the action
on the audience or by the success made
bF another singer.
AT the conclusion of the performance.
which was finished with the prima
donnas part omitted, Nine Sembrich was
called FOR after an the principals had
made their customary parade before the
curtain. but she did not come forth In
reply no the iusistent demand Miss Fritzi
scheff called out 20 the audience: she
has gone home 10 was Miss Scheff who
bad been SO loudly applauded before
Nine Sembrich retired
The large audience left the theatre Gu a
state OF bcWllQerment 10 was the gem
erai opinion that ~ Nine Sembrich had
been offended DO was due 20 the lnsisteuce
OF her friends and admirers On the house
rather than 90 a Partially for Miss
schclf. The circumstances Of the affair
We're curious.
The opera had progressed to the ninth
scene. wherein there is a duo between
Mr.. Campanarl as PapagenO and Miss
Schcff as PapaEeua. The part Is con-
sldered happy one Tor Miss Scheff and
1eslcIOdl she acted Win more IMAM nee
accustomed vivaclty doubtless So inspired
By the enthusiasm OF the audience.
The duo ended with great applause. and
the singers were recalled They bowed
their acknowledgement and retired.
The applause was continued, and iu the
midst OF 10 Nine. Sembrich. who was
singing the Queen Of Night" made her
entrance for her final song. She had
reached the center OF the stage and was
looking az the leader Of the orchestra
awaiting the movement Of his baton
The applause. which had somewhat died
out. was renewed, and there were heard
cries for "Scheff'
Mme. Sembrich held her ground and adj
Vanced little 90 the front Then there
were several Kisses heard. but they were
plainly not intended Tor the singer They
came from those in the audience who be-
lieved that honor enough had been done
TO Miss schefl and who wanted 20 quell
the enthusiasts. When. however. Nine.
Semdrich heard the Kisses, she left the
stage and the theatre.
eH
These words. grateful and "idiomat-
Be- are frequently in evidence in discus
sions about music. and they have much