One incident showed the importance of this work. Various pieces of concerted music were being rehearsed one night at the church of St. Sulpice, for performance during the solemnity of "the work of St. Francis de Xavier." A close circle formed around the musicians; private conversation added a discordant note to the harmony; the church echoed back the footsteps of people walking to and fro.
The Dies Irae came! The music at first imitates the angel trumpets which, according to Christian belief, are to be heard when time shall end. The summons sounded four times.
This mournful chant of reawakening generations instantly silenced every voice and every step; all were motionless; and the solemn melody alone soared to the vaulted roof.
A touching story is told of this work. At a large and miscellaneous gathering, M. Donoso-Cortes, a well-known Spanish publicist, then ambassador to Paris, begged Delsarte to sing his Dies Irae. A space was cleared in the music-room.
The score of the symphony for voice and piano, made by Delsarte himself, retains all his intentions and effects, to which his striking voice added greatly.
Delsarte began:
"Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum sybilla."
The whole assembly were taken captive. M. Donoso-Cortes was particularly moved. His eyes filled with tears. He was not quite well that night.
A week later the newspapers invited the friends of the illustrious stranger to meet at St. Philippe-du-Roule, to witness his funeral rites. Delsarte was present; the church was so hung with black that the choristers were alarmed for the effect of their motets.
The artist recalled the request made him the previous week by the Spanish ambassador. He felt as if that same voice came from the bier and begged him for one more hymn to the dead. In spite of his emotion, he offered to sing the Dies Irae.