Mozart's music to "Betulia Liberata" (118 K.) is quite on this level. There are unfortunately no indications of time or place on the original score, which exists in two volumes of 382 pages and fifteen numbers; the handwriting and composition place it undoubtedly between 1770 and 1773. As we know that Mozart received a commission for an oratorio at Padua in March, 1771, it may safely be conjectured that this was the "Betulia Liberata," and that it was performed in Padua in 1772.[15] The three movements of the overture in D minor are quiet and more concentrated than usual; the arrangement of the parts is more independent, with attempts at imitative treatment. Besides oboes and bassoons, there are four horns (in D and F), and trumpets (in D), used frequently and in the same manner as at present. {ORATORIO.} (198) A secco recitative follows the overture; the music never rises above the dialogue, with its long, sermonising speeches and rhetorical bombastic reflections. There are only two accompanied recitatives: the first occurs when Judith upbraids the people; short and skilfully modulated instrumental phrases interrupt the animated declamation, and the whole is lively and expressive. Later on Judith delivers the long narrative of her adventure with Holofemes (II) in an accompanied recitative. The stringed instruments strike the chord in a high pitch, with which Judith's alto voice strongly contrasts. There are but few agitated passages; but, indeed, even in stirring moments the music never reaches anything like characterisation. The prayer of Judith at the most critical point of the piece is not conspicuous either for tunefulness or varied accompaniment. The solo parts are distributed among all the four voices: for Amital, Cabri and Carmi are soprani, Judith alto, Ozia tenor, and Achior bass; they are never united in an ensemble, and there is not one duet. Judith has three airs, besides a solo with chorus. The first (5) approaches as near as possible to a bravura song. The words are expressed with grace and animation. The passages are neither predominant nor tedious, which is doubtless due in part to the singer for whom the part was composed, for the second song (7), powerful and dignified as it is, is also without passages; it begins with the favourite long-sustained note. The chief movement of the last song (11)--a long adagio with a carefully composed accompaniment--is finely descriptive of Judith's mood, but there is no appeal to the feelings by beautiful melody. The whole part is not bravura in the strictest sense; the deeper alto notes are only occasionally employed.