they add the words, “mortem autem crucis,” and on Good Friday, “Propter quod et Deus exaltavit illum et dedit illi Nomen quod est super omne Nomen.” Again there is a pause, while everyone repeats the Pater Noster to himself; there is a death-like stillness in the chapel, and now the Miserere rises, at first soft-toned and then caught up by both choirs. It was this commencement with its first penetrating notes that made the deepest impression of all on me. For an hour and a half one had listened to unison singing without variety; and now after the silence comes this beautifully arranged harmony. The effect is splendid, and the hearer feels the power of music in his heart of hearts. It is this piece which is most peculiarly striking. They reserve the best voices for the “Miserere,” and render it with very great variation, swelling and falling from the lightest piano to the whole power of the voices. It is no wonder that everyone is captivated by it.
It is important, too, that they never forget their principle of contrast, and have each alternative verse sung by all the male voices in unison, forte, and without expression. Then at the commencement of the next comes the beautiful soft and full harmony of the part singing, always lasting a very short time, and then interrupted again by the chorus of male voices. During the monotone verse one has the presentiment of this lovely alternation; then it breaks forth again and again too briefly, and before one is well aware of it, it is gone.
For example, on the first day when they had Baini’s
