Page:A Dictionary of Music and Musicians vol 3.djvu/531

SIRMEN. small parts in operas. In 1782 she was concert-singer at the Court of Saxony. She died towards the end of the century.

The following compositions of Madame Sirmen's were published:—6 Trios for 2 violins and cello (Amsterdam); 3 Concertos for violin, op. 2 (ditto.); 3 concertos for violin, op. 3 (ditto.). Another concerto is mentioned by J. A. Hiller as having been engraved at Venice.[ F. A. M. ]

SIR ROGER DE COVERLY, the only one of the numerous old English dances which has retained its popularity until the present day, is probably a tune of north-country origin. Mr. Chappell (Popular Music, vol. ii) says that he possesses a MS. version of it called 'Old Roger of Coverlay for evermore, a Lancashire Hornpipe,' and in 'The First and Second Division Violin' (in the British Museum Catalogue attributed to John Eccles, and dated 1705) another version of it is entitled 'Roger of Coverly the true Cheisere way.' Moreover the Calverley family, from one of whose ancestors the tune is said to derive its name, have been from time immemorial inhabitants of the Yorkshire village which bears their name. The editor of the Skene MS., on the strength of a MS. version dated 1706, claims the tune as Scotch, and says that it is well known north of the Tweed as 'The Maltman comes on Monday.' According to Dr. Rimbault (Notes and Queries, i. no. 8), the earliest printed Version of it occurs in Playford's 'Division-Violin' (1685). In 'The Dancing Master' it is first found at page 167 of the 9th edition, published in 1695, where the tune and directions for the dance are given exactly as follows:—

[ W. B. S. ]

SISTINE CHOIR (Ital. Il Collegia dei Cappellani Cantori della Cappella Pontificia). A Collegiate Body, consisting of 32 Choral Chaplains, domiciled—though not in any special buildings of their own—at Rome, where, for many centuries, they have enjoyed the exclusive privilege of singing at all those solemn Services, and Ecclesiastical Functions, in which it is customary for the Supreme Pontiff to officiate in person.

The genealogy of the Papal Choir may be traced back to a period of very remote antiquity. It is said—and the tradition is worthy of credit—that a School for the education of Choristers was founded in Rome early in the 4th century, by S. Sylvester, whose Pontificate lasted from the year 314 to 335. That S. Hilarius (461–468) established one, not much more than a century later, is certain. These Institutions, after the lapse of another hundred years, were supplemented by new ones, on a larger scale. On the destruction of the Monastery of Monte Cassino, by the Lombards, in the year 580, the Benedictine Fathers fled to Rome; and, under the protection of Pope Pelagius II. (577–590), established themselves in a new home, near the Lateran Basilica, where they opened Schools for the preparation of Candidates for Holy Orders. S. Gregory the Great (590–604) took advantage of this circumstance while working out his system of reform, and turned the Seminaries to account as Schools of Singing. Under his care, they prospered exceedingly; and, in process of time, attained proportions which enabled them to supply the various Basilicas with Singers, who assembled on the Greater Festivals, and attended the Pope wherever he officiated. And thus arose the practice to which the Church was eventually indebted for the magnificent Services of the Sistine Chapel.

These early Scholæ Cantorum—sometimes called Orphanotropia, in allusion to the number of fatherless children which they sheltered—were governed by an Ecclesiastic, of high rank, called the Primicerius, who, assisted by a Secundicerius destined afterwards to succeed him in his office, exercised absolute control over the Youths and Children committed to his care. Boys were admitted into the Preparatory School (Parvisium) at a very early age; and, if of gentle birth, became, at the same time, members of the Papal Household, holding a status analogous to that of the Pages at a sæcular Court. After passing through the necessary preparation, the Choristers were permitted to take part in the most solemn Services of the Church: and, when their Voices changed, were either prepared for Holy Orders, or provided for as Cubicularii. The older members of the Scholæ were called Subdeacons: but, it is evident that the title was only an honorary one, since, though constantly taking their part in Choir, they were never permitted to sing the Epistle. By their help, Rome was so liberally supplied with Singers, that, on more than one occasion, the Pope was able to send out skilled instructors, for the purpose of encouraging the purest style of Ecclesiastical Singing in other countries: and, as we hear of no important modification of the system before the beginning