. Programme . Early in the eighteenth century there were no performances atthe Opera in Paris on certain solemn days of the Catholic Church,—the Festival of the Purification of the Virgin, the Annunciation,from Passion Sunday to the Monday of Quasimodo or Low Sunday,Ascension, Whitsunday, Corpus Christi, the Assumption of theVirgin, the Day of the Nativity (September 8), All Saints, Day ofthe Conception, Christmas Eve, and Christmas, etc. In 1725 AnneDanican Philidor, one of the famous family, obtained permissionto give concerts on those days. He agreed to pay a yearly sumof ten thousand livre
. Programme . Early in the eighteenth century there were no performances atthe Opera in Paris on certain solemn days of the Catholic Church,—the Festival of the Purification of the Virgin, the Annunciation,from Passion Sunday to the Monday of Quasimodo or Low Sunday,Ascension, Whitsunday, Corpus Christi, the Assumption of theVirgin, the Day of the Nativity (September 8), All Saints, Day ofthe Conception, Christmas Eve, and Christmas, etc. In 1725 AnneDanican Philidor, one of the famous family, obtained permissionto give concerts on those days. He agreed to pay a yearly sumof ten thousand livres.* He also agreed that no operatic music andno composition of any nature with French text should be performed,but this obligation was afterwards annulled. Thus were the Con-certs Spirituels founded. They were given in the Salle des Suissesat the Palace of the Tuileries. The first was on Passion Sunday,March 18, 1725; and the programme included a suite of airs for * Some say the sum was six thousand llar^ lai NEW MODELS Coats and BreechesSafety Side Habits JUST RECEIVED A Fresh invoice of RidingCloths from London to usdirectSTREET COSTUMES NEW MODELS V. BALLARD AND SONS 256 Boylston Street 221 violin; a caprice; a motet, Confitebor; a motet, Cantate Domino,—all by Lalande; and the concerto, Christmas Night, by concert lasted from 6 to 8 There were never morethan twenty-four performances during the j^ear. These concertswere maintained and were famous until 1791. The most distin-guished singers,—as Farinelli, Raaf, Caffarelli, Agujari, Todi,Mara,—violinists, oboists, bassoonists, and all manner of playersof instruments assisted in solo performances. Philidor gave upthe management in 1728. There were changes in the character ofthe programmes and in the place of performance, but the fame ofthe concerts was firmly established. In 1750 there was a chorusof forty-eight with an orchestra of thirty-nine. Dr. Burney gave an amusing account of one of
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