The "Reformation Symphony" (No. 5) dates back almost to his juvenile period. It was written at the age of twenty-two. With the exception of one bright gem, the _Scherzo_, it seems to labor under the proverbial fatality of _occasional_ works. As a Symphony it is exceptional in form, consisting really of only two parts, with a refreshing interlude between. The first part, in which the idea of the Old, the frowning Catholic faith, predominates, includes the _Allegro_ with its short _Andante_ prelude. The second part, the triumph of the New, with its curious variations on the Lutheran Choral, "_Ein' feste Burg_," has likewise its short _Andante_ prelude, whose rather feeble prayer for peace it answers. Suppose a curtain dropped between the two parts, while for interlude and recreation we are vouchsafed that happy _Scherzo_.--But it is hardly fair to count this early effort into his symphonic period, any more than the Symphony "No. 1," in C minor, which bears date 1824. From Symphony to Oratorio we have a noble bridge in the Symphony-Cantata "_Lobgesang_" or "Hymn of Praise." It is of later date, to be sure, than the oratorio _St. Paul_, and was composed to celebrate the invention of the art of printing, and to lend _éclat_ to the inauguration of the statue of Guttenberg, at Leipsic, June 25, 1840. Many regard it as the most felicitous and most inspiring of his larger works, although prompted by an "occasion"! Praise and gratitude to God for LIGHT; the waiting and longing for it through the long darkness of the middle ages; then the break of day; the free career and joy of a redeemed humanity; and first and last and everywhere the Praise of God: such were the themes and promptings of Mendelssohn's heart and genius when he composed the _Lobgesang_. The three orchestral movements which prepare the chorus are essentially symphonic. From the first trombone proclamation of the pregnant choral motive, through the rapidly unfolding, fiery, complex _Allegro_; through the sweet, sad (almost over-sweet) tune (as of "the heart musing, while the fire burns," yet with a slight flutter) of the middle movement, _Allegretto_, and its alternations with the cheery, choral-like full chords of the wind; to the last deep-drawn sigh of the rich, soulful _Adagio_, it is pure symphony, all leading up to the superb outburst of the irrepressible chorus of Praise. Thenceforth we breathe the mountain air of oratorio. The work is too familiar to require description. Enough to note the innate strong dramatic tendency of Mendelssohn, as shown in the middle point and climax of the work, the thrilling scene beginning with the anxious Tenor recitative; "Watchman, will the night soon pass?" with fitful, wild accompaniment; the startling Soprano answer: "The night is departing," flooding all with instant light; and then the blazing outburst of full chorus, taking up the words in an exciting fugue.--It is surely an inspired, a master-work, both instrumentally and vocally.