Omaha daily bee., 1919-11-09

gram presented last evening.
The singers were choristers from
the Sistine Choir. St. Jhon Lateran
and St, Peters Basilica and num-
bered 81 with the director, MNn-
signor Casimiri. They filed in one
by one with 10 small boys in the
front row. All were in choir robes
only the red robe undsr the sur
plice of the conductor making a
touch of color.
~Consignor Casinir, entered with
out ostertation. turned tofthe audi
cnce and raised his hand. Immedi-
ately the choir, as one voice. re-
Isponded, and greeting was sung to
the Omaha people, which made a
ptopitious opening for the rpagnifi-
cent music which was to come.
The weary pilgrim could not have
found the beautiful and the true ever
as it abounds in this 400-year-old
music had it not been for the sing
ing of this choir, which was as fine
as one may sometimes imagine, but
seldom hope to hear.
Attack Always true.
No pitch was ever given, yet the
attack was always true, accurate and
tull. The quality of the voices was
truly heavenly, and soprano, also
tenor and bass, was so perfectly bal
anced that no one part was ever con-
spicuous except as the music de-
manded it.
Monsignor Casimiri uses no baton
and one wonders whether that had
anything to do with it, for his elo-
qaent fingers achieved results which
many another conductor is unable
to obtain with the aid of stick.
Not once did even the smallest
boy deviate from the pitch, but the
various four and five-part compo-
sitions were sung with a refinement'
of nuance, a grace of phrasing and
with heavenly pianissimos. and all
with an assurance of intonahon
which is remarkable feat in itself.
Rare Finish to Work.
There was finish and artistry
about all their work which is as re-
markable as it is rare, and i. i'll itself.
is almost as unusual as the music of
the ancient master which was pre-
sented, Monsignor Casimiri is a
modest, but great artist, ! and con-
cert of such high musical values,
apart from its religious connections.
is one which may rarely be heard
on any concert platform.
The numbers presented were all
by masters of the sixteenth century,
except one, Pentecostal Sequence.
by the director himself. 4
Five of these were by Palestrina,
the greatest of all masters of poly
ophonic music. The opening num-
Der was a full and majestic "Offer-
toire' by this composer, whose
fame remains undlmmed to the pres
ent day. The second number, a
motel for five voices. also by this
composer. was one of the most ex-
ouisite of the entire program. In
this innumerable musical excellen-
cies were evident, as well as the
lovely quality of the boy singers. I
Contrasts Are Wonderful.
The music was filagree of melo-
dy, and was sung with wondrous
contrasts of tone, At times pianis-
simo of teheral beauty, at other
times staccato duet with delicate
tracery, brought out, the meaning
of the words, and every dainty pat
tern was given its just due.
Other Palestrina numbers were
a gladstone. motette in five voices
of Praise to the Lord" an add
iour-voiced notet, and great four
voiced number of rejoicing, which
closed the program This aid music
is intensely alive and vital and the
voices can clearly DE heard in imi-
taton of harps and other instru-
lnents, as.they are spoken OF in the
texts. The closing number was
perhaps the most dramatic of the
evening.
Repeat "Ave Maria"
OF, the other numbers the ave
Maria" by Vittoria, was a most |
number, its mood being |
clearly expressed in the music, and
he number most fittingly inter-
oreted. This number was repeated. |
. The Pentecostal Sequence, by |
Mcnsignor Caisnir, proved him an |
excellent composer. 1t was COM
posed from the harmonic view point,
rather than that of many melodies |
n combination, and it>was a majes-
tic number on broad lines, each ex-
1ortation being announced and then
developed into appropriate har-
monies.
The closing number was repeated,
and one other encore was also given,
and sincere ovation of applause
was given to the dignigied director
and his choirsters