ong tubular chimes which are suspended by one end
and struck with a wooden hammer are the most satisfactory. If they seem
too metallic, try covering the head of the hammer with folds of chamois
skin. If such a set of chimes is not to be had a substitute can be found
in the phonograph, for which there are a number of chimes records.--The
tune played on the phonograph must not be a modern one; Luther's Hymn
"Great God, what do I see and hear?" (A Columbia record) is the best.
The tune can be disguised by lifting the needle occasionally and setting
it down gently on another part of the record. As far as I know, no
phonograph record presents chimes pure and simple. It should be
remembered however that the phonograph record lacks the vitality of tone
and the note of jubilant triumph which a good musician can bring from
the bells themselves.

With the exception of the crescendo at the end of the Alleluia, the
music is kept soft and dreamy throughout. It is a temptation to try to
achieve this effect by placing singers and organ back, off stage, so
that the sound may come from a distance but it has been found that the
whole performance gains immeasurably if the organist is in front where
he can watch every movement of the actors and interpret them in his
playing.

The music begins on Holger's speech: "Oh thou art warm" and continues in
one form or another throughout the play.--The organist commences in the
middle of the Ropartz "Sortie," at the top of page 6 and continues this
until the back of the hut is withdrawn when he drifts into the
accompaniment of the Gevaert song, and plays it through once without the
voices. As Holger cries "Dame!"--and sinks back against the woman's
knee, this verse should end, and the voices of the choir take up the
song with the organ.

From this point on every movement in the chancel is paced to the rhythm
of the music. It has been found that a verse of the Gevaert song is just
long enough to fit the following action.

A person in the procession enters the chancel, walks to the center
before the altar, kneels and presents his gift to the priest. The priest
accepts the gift, turns, goes up the steps to the altar, and raises the
offering high above his head holding it there a moment waiting for the
chimes to ring, then brings his arms down, lays the gift on the altar,
turns back to the kneeling figure, and raises his hand in blessing. The
person then rises, and steps back to his appointed place