With the exception of the crescendo at the end of the Alleluia, the
music is kept soft and dreamy throughout. It is a temptation to try to
achieve this effect by placing singers and organ back, off stage, so
that the sound may come from a distance but it has been found that the
whole performance gains immeasurably if the organist is in front where
he can watch every movement of the actors and interpret them in his
playing.

The music begins on Holger's speech: "Oh thou art warm" and continues in
one form or another throughout the play.--The organist commences in the
middle of the Ropartz "Sortie," at the top of page 6 and continues this
until the back of the hut is withdrawn when he drifts into the
accompaniment of the Gevaert song, and plays it through once without the
voices. As Holger cries "Dame!"--and sinks back against the woman's
knee, this verse should end, and the voices of the choir take up the
song with the organ.

From this point on every movement in the chancel is paced to the rhythm
of the music. It has been found that a verse of the Gevaert song is just
long enough to fit the following action.

A person in the procession enters the chancel, walks to the center
before the altar, kneels and presents his gift to the priest. The priest
accepts the gift, turns, goes up the steps to the altar, and raises the
offering high above his head holding it there a moment waiting for the
chimes to ring, then brings his arms down, lays the gift on the altar,
turns back to the kneeling figure, and raises his hand in blessing. The
person then rises, and steps back to his appointed place to the left or
right of the altar, coming to a standstill just as the music ends. As
the next verse begins, the next person enters the chancel. The movements