The choruses are naturally designed on a less imposing scale than those of Handel, which, as we have seen, had a certain dramatic quality. The general style and purpose of Haydn's oratorio writing made it inevitable that his choruses should be more contemplative or descriptive and less dramatic, and his development of the instrumental accompaniment emphasized this condition. It was Haydn who introduced into the oratorio purely descriptive orchestral music, and in doing this he paved the way for later composers to make stronger dramatic effects. Descriptive music in the orchestra, and instrumental accompaniments with special significance, are now a familiar part of the apparatus of the lyric drama as well as of the oratorio. Haydn employed these means as a part of his general scheme of descriptive writing. In order to give his instrumental description full scope, he was obliged to cast his choruses in a simpler mould than those of Handel, but his contributions to the art of descriptive writing were quite as valuable within their field as Handel's to the art of building huge choral climaxes. The prelude to "The Creation" is an instrumental representation of chaos; in the recitative beginning "And God made the firmament" are instrumental illustrations of storms, winds, thunders, and floods; the air "Rolling in foaming billows" has an accompaniment designed to suggest to the hearer the movement of waves. These were Haydn's original devices, and as such, although they sound simple and even naive to us to-day, they claim an important place in the advancement of musical art. Haydn's second oratorio, "The Seasons," was produced in 1801, and although the composer's powers failed rapidly thereafter, there is no evidence of weakness in this work. In all essentials the form and style of this oratorio, which is secular, being founded in Thomson's poem of the same name, are the same as those of "The Creation." It is a descriptive, contemplative work, and must please by its thoughtful beauty and illustrative power. It is without the dramatic element. Ludwig Spohr (1784-1859) wrote oratorios, one of which, called "The Last Judgment"--though its name literally means "The Last Things" has some claims to consideration, inasmuch as by reason of its purely contemplative method and its instrumental descriptions it stands in the direct line of oratorio progress. It is, however, not frequently performed. It was produced at Cassel in 1826.