“…The music at the mass was of the very finest character, a military band having been added to the organ and regular quartet choir. For this special occasion, the organist, Dr. Berge, had written a grand ‘Messe Pascale,’ which was performed with exceptional success for a first rendering. As the procession of priests and acolytes filed out of the sacristy a slow march was played by the organist, and when the priests had begun the mass at the foot of the altar the ‘Kyrie’ was opened with a full chorus, the accompaniment being bells, which were admirably timed by the organist’s son, Master Eddy Berge. The ‘Christe Eleison’ was a soprano solo, which was most effectively rendered, and then came a rare performance, the second ‘Kyrie’ being a movement in six-eighth time by the singers, the accompaniment by the bells and organ being in two-fourth time. The ‘Gloria in Excelsis’ opened with trumpets (fanfare and tympani), the swell merging into a jubilant chorus by eight voices. This was followed by the ‘Et in Terra Pax,’ by all the female voices and in the very softest tones. The ‘Laudamus Te’ was a glorious duet by the soprano and alto, and the ‘Gratias Agimus,’ a tenor solo, was a passage not less meritorious. A most striking part of the hymn was the rendering of the ‘Qui Tollis’ by the baritone and basso, both singers being at their best. The close was a grand burst under the ‘Cum Sancto Spiritu,’ in which the chorus, organ and orchestra participated. The ‘Credo’ opened with a canon for four solo voices, which the chorus took up at the close, and this led to the spirited soprano solo ‘Et in Unam.’ A solemn passage was the ‘Genitum non Factum,’ which was sung by four male voices without any accompaniment. By far the best solo of the ‘Credo’ was the ‘Incarnatus,’ which was rendered by the soprano with a marked appreciation of the sentiment. A magnificent swell ushered in the ‘Et Resurrexit,’ chorus, orchestra and organ being included. This was the festival thought of the hour, and due expression was given to it both by the composer and the singers. The ‘Sed ad Dexteram’ a quartet for mixed voices, was followed by a chorus for the ‘Et Iterum,’ and then came an admirable organ solo, the ‘Cujus Regni,’ to which a chorus by the singers seemed rather as an accompaniment. Another solo, the ‘Et Unam Sanctum,’ was most effectively given by the baritone, relieved by a chorus, and the close of the prayer, embodied in the ‘Et Expecta,’ in which a solo, duet and chorus succeeded each other, was a triumph. At the offertory the ‘Haec Dies Fecit,’ by Father Lambilotte, was given with a grand chorus and accompaniment. The ‘Sanctus’ was a chorus. The ‘Benedictus’—a splendid composition by the organist—was a soprano solo with chorus accompaniment without the organ. An interesting piece in the mass was the ‘Agnus Dei,’ which, after a joyous burst, introduced a duet by the soprano and alto, a tenor solo and a chorus at the close.”