large motions with his baton accidentally struck his foot, producing a slight blister. It must be remembered that the baton of that day was a violin bow, considerably heavier than the bow of the present century. Inflammation set in, and on the advice of his physicians he had a toe taken off. Still later it became necessary to remove the foot and, finally, the whole limb.
The moral is obvious. Let conductors beware!
45.—PRIMA DONNAS COME HIGH.
Gabriella was a singer who, like Jenny Lind, could be generosity personified when occasion offered; nevertheless she appreciated her own worth as an artiste, and on occasion could demand what she considered her value. At one time she was summoned by the Empress Catherine the Second, of Russia, to sing before her Majesty. Shortly after her arrival at St. Petersburg, Gabriella was asked by the Empress her terms for amusing her royal audience. It seems that no amount had previously been stipulated. She determined that a royal patron should pay a royal price and answered: "Five thousand ducats."
"Five thousand ducats!" exclaimed the queen. "Why, not one of my field-marshals is paid so much!"
"Then your Majesty had better get one of your field-marshals to sing," answered the quick-witted diva.
46.—AN UNORTHODOX CREED.
It is frequently the case in church music that some serious or sacred words are used as a mere peg on which to hang a display of musical ability. In some cases the value of the musical composition causes us to forget the absurdity of the continued repetition of the same word or words. This is the case in the "Amen" chorus in the "Messiah." Händel has here given a fine contrapuntal display on the word "Amen," and evolved a long fugal chorus.
