The mirror. (Stillwater, Minn.) 1894-1925, 1906-05-03

plumed headgear and the long halle-
bards of the Swiss, overtowering the
heads of the clergy and laity. fur
nished magnificent frame to the en-
tirety, made particularly striking by
the brilliant wax-candle illumination
of the altar, while all other parts of,
the great edifice, as usual in catholic |
churches in Europe, remained in semi
darkness. At first, the center was oc-
cupied by Cardinal Prince Won
Schwarzenberg celebrating high mass.
AS soon as that was finished, blast of
trumpets signaled the arrival of the
pope from one of the side chapels. I'm
der baldachin carried by four arch
bishops, the tiara on his head, Plus
slowly made his way to the center of
the altar, where he kneeled few
minutes in silent prayer. Then, turn
ing around and facing the multitude,
he received the famous pronuncia-
mento from the hands of Cardinal
Antonelli and commenced to read the
momentous document in loud, clear
voice. The text. being in Latin, was
but partially understood; but that did
not matter as we all knew its import.
Brought up in the Lutheran faith,
and fresh from protestant university,
it was not very surprising that 1
should view the scene before me with
feeling of skepticism and disbelief.
At all events, 1 was far from being
piously impressed by it. But when
the pope had finished his declaratit n,
and when, after the two great organs
had played the prelude, over four thou
sand male voices, among them many
of the best of that time, burst forth in
Mozart's grandiose .Te Deum lauda-
mus then l felt that / was in the
presence of the Almighty, and like
everybody else, fell on my knees and
} gave praise to the God in whom we all
, believe. What all the pomp and gran
: deur of the magnificent ceremony
had failed to accomplish, that was ac-
complished with the greatest ease by
the impressive music of that glorious
| Re Deumw
The greatest masters in every branch
of classical music were Germans
Johann Sebastian Bach, the origina-
tor and foremost exponent of the
"fugue," has not even been approxi-
;, mately equalled by any other composer
T of organ music. Beethoven ranks first
3 as composer of symphonies and
f sonatas. His opera "Fidelio," tho by
s no means we'll adapted for presenta
: tion on stage, is yet prominen,
number on the repertoire of all leading
! operas. The. genial Mozart, whose
q celebrated Requiem" and many othe
s compositions of high-class sacred
9 music, play such prominent feature
l. at Catholic services, produced a mum
T. ber of operas whose charm is as fresl
:, and enjoyable now, as it was more thai
l. a hundred years sgo. His "Dol
d Giovanni" ""Magic Flute" and "Figaro
=. are unexcelled in their righteousness
n The best of all oratosii, the "Oratori
S, Messiah" as well as number of 9th
s, er beautiful oratorii, are the work @
s, Handel. Wagner, the greatest of al
ic opera composers, as far as dramati
IL force and effectful Instrumentation ar
ID concerned, has revol htionized the oil
le time standards. His music, especiall
% in "Parsifal," "Walkure," "Tannhau
10 SER" and Notwithstanding" shoul
be heard repeatedly, as only then it
ID great beauty and force will be full
IF appreciated by the laymen. Anon
m the host of other German composer
ID the names of Menaelssohn, HaydI
Of Gluck, Weber, Schubert, Meyerbee
Is Lortzing, Schuhmann, Kreutzer, etc
Of are we'll and favorab)y known in thi
bit country.
RS Italy has enricheeSxthe world wit
ly much tuneful music Cherubin
of Bellini, Rossini, DoEizetti and Vert
to. are we'll known everywhere. Vert
us has the honor of having produced th
De largest number of operas. His Sc
1T Trovatore" is given more frequent
in than any other OPERA This is not du
gs entirely to its charming and populs
lie melodies; but also because it afford
rs. unusual opportunities for the exhib