Grove's dictionary of music and musicians

272 SCHONBEKGER SCHOLA CANTOEUM, THE
great subject without its being of some value,
and Sohcelcher's dates and lists are alone enough
to make the student grateful to him ; it is a
great pity that M. Sohoeloher's original French
work is not published. e.
SCHONBERGER, Benno, bom at Vienna,
Sept. 12, 1863, was a pupil of Anton Door for
piano, Bruckner for counterpoint, and folkmann
lor composition, at the Vienna Conservatorium,
until 1874, when he played at recitals, and
with the Hellmesberger Quartet. He went for
a time to study with Liszt, and in 1878 undertook
an extended tour in Russia, Germany,
Austria, and Belgium. From 1880 to 1885
he taught in Vienna, and after a journey to
Sweden in 1886 settled in London, making his
first appearance at a recital of his own, in
January 1887. Since then he has held an
lionourable place among the pianists who
appear regularly in London, and his interpretations
of the classics are always sound and interesting,
while his tone and technique are of
remarkable excellence. He went to America
on tour in 1894. Of late years he has appeared
but rarely, owing to ill-health ; but he is a
diligent and successful teacher of his instrument.
He has published numerous piano pieces and
songs. (Baker's Dictionary, etc.) M.
SCHONE MINKA. The name by which
a certain very popular Ruthenian or Little
Russian song is generally known. (The music
and original words are given by Prach, Sobranie
russkikh narodnuikh pyesen, end of vol. i., and
the literal German version in Fink, Musikalischer
Hausschatz, No. 157.)
Ye-kliav Ko - zak zal>u-iia-i. Ska - zal diT-chl-
Le - be - vohl ; ITun, ihr mel - ne He ben Bap-pen,
Na si - la - gn - lai. Fo • stol, po - stoi.
Lau-fet VA8 ihr kS&nt. Wart doch, wart doch,
ko - za - che, Tro-ya dlv - chi • na pla - che,
Wenn du mich nnn auch TerlSssest. Den-ke doch an
xnich.
It is marked by perfect' regularity of rhythm
and absence of certain eccentricities noted in
the article, Song, as common in the Cossack
and Little Russian songs ; and the words are a
dialogue in rhymed verse. It is an interesting
instance of a Volkslied of one country becoming
uatiiral over-exuberance of the author he liaa rather exaggerated it,
and has allowed a number of sentences to pass which no literary
man ol any pretension should have written.
domesticated in the same capacity in another,
and also of the extraordinary transformation
which the song may undergo in the process.
A very loose imitation of the words of this song,
beginning Schbne Minka ioh muss scheiden,'
'
was published by the German poet Ch. A. Tiedge
in 1808, and this, with the melody much altered,
is now to be found in most collections of German
Volkslieder without notice of theSlavonic source.
J. N. Hummel has made this air (rather in its
original than in the German form) the subject
russisches Thema,' for PF., violin,
of ' Adagio, Variazionen und Rondo iiber ein
and violoncello,
op. 78, and Weber wrote a set of brilliant
variations for pianoforte on the.same theme. E. M.
SCHOLA CANTORUM, THE, an important
institution founded in 1896 in Paris by Chakles
BoRDES, the famous director of the Chanteurs
'
de Saint-Gervais,' Alexandre Guilmant, and
Vincent d'Indy. Its first object was the
execution of plain -song after the Gregorian
tradition, and the revival of music of the period
of Palestrina. The beginnings were very
modest, only twenty-one pupils attending the
first course; but in 1900 its growth had been
so rapid that it was found necessary to transfer
it from the original premises in the Rue Stanislas,
to the large building it now occupies in the
Rue Saint Jacques, formerly the H6tel des B^nediotins
Anglais, where the remains of the exiled
James 11. of England were deposited.
It is now a superior high-class music-school,
with more than 300 pupils of both sexes, who
receive a thorough musical education, founded
(whatever may be the ultimate direction of their
studies) upon a knowledge of plain-song, liturgical
melodies, and of the religious music of the
polyphonic period. The course of training is
wisely divided into two sections, one concerned
solely with technique and the other with style
and the application of technique to art. At the
monthly concerts, directed and prepared by
M. Vincent d'Indy, the head of the institution,
the pupils have opportunities for becoming intimately
acquainted with the musicof the centuries
preceding the 19th. Complete performances
are given of works rarely to be heard elsewhere
in Paris ; Bach has been represented by more
than 20 of the church cantatas, the Christmas
Oratorio, all his concertos, the Passion according
to St. John, and the B minor Mass ; Gluck, by
'Alceste,' 'Armide,' 'Iphig^nie en Aulide';
Monteverde by Orfeo, ' ' and ' L' Incoronazione
di Poppea.' Numberless works by such old
French masters as CUrambault, Charpentier,
Dumont, Leclair, Lalande, etc., have been revived,
as well as Rameau's 'Dardanus,' 'Hippblyte
et Aricie,' 'Zoroastre,' ' Castor et Pollux.'
There are a certain number of bursaries or scholarships
connected with the institution, and by an
ingenious system the fees due from the. pupils,
are in many cases balanced by the fees they earn
in taking part in the concerts. There is a 'section