The "Elijah," then, realized, nay more, it exceeded the highest expectations. Teeming with melody which fascinated them, while never exceeding their powers of instant comprehension, full of moving incidents that their reading of the Bible had made familiar, and containing moments of intense dramatic force, this noble work seemed to the English people for whom it was written, a veritable inspiration and a gift from the Highest Sources, to be received with humility and gratitude. At any rate, the outburst of emotion that it evoked was extraordinary, and, probably, unprecedented. Mendelssohn himself was so moved that he hastened from the city so soon as it was possible for him to do so, in order to escape from the atmosphere of excitement. The success proved a lasting one, and the "Elijah" joined the "Messiah" and "Creation" to form a triumvirate that time has not yet succeeded in dethroning. Judged by modern standards of criticism, it would be idle to deny that the "Elijah" is not so great a work as it was believed to be when first produced, but notwithstanding this, its great outstanding merit of fascinating the English public and attracting them towards music that, if not monumental like that of Bach, was, at least, artistic and undeniably sincere, should be recognized with gratitude by all who are interested in the subject of "music in England." "THE LAST JUDGMENT." When considering the composers of oratorio who influenced musical thought in England in the nineteenth century, a conspicuous place must be assigned to Louis Spohr. He only commenced writing sacred works when close upon thirty years of age, although by that time he had proved to be a prolific composer of instrumental and operatic music. That the natural bent of his genius was not in this direction is shewn by the fact that his earliest essays were marred by his lack of contrapuntal skill--absolutely the first essential. Although he tried to remedy the defect, it is noteworthy that he never acquired a mastery of this necessary aid to Church music, and its failure to make any lasting impression is largely due to this fact. The first oratorio to become famous was "The Last Judgment," which was not composed until he was over forty years of age. There is no doubt whatever, strange as it may appear now, that his oratorios, at one time, were immensely popular in this country. This is shewn by the fact that in 1847 the Sacred Harmonic Society (of London) gave a special series of concerts, with the sole idea of presenting the whole of Spohr's sacred compositions! These included three oratorios, "The Fall of Babylon," "Calvary," and "The Last Judgment." One reads that they were received with the greatest enthusiasm, and Spohr certainly looked upon their success in this country, as one of the most notable features in his career. Indeed, he wrote, on one occasion, that the reception of "The Fall of Babylon" when produced at the Norwich Festival, was the greatest triumph of his life.