That this moderation of style was not inseparable from the character of oratorio music, may be seen from the parts of Amital and Ozia. The second song for Amital (10) and the first for Ozia (1) are regular serious bravura songs, with passages, long-sustained notes, and florid accompaniments. Amital's last song (13) is solemn and earnest, to suit the words, but still keeps the performer well in view; Ozia's {"BETULIA"--ARIE, CHORUSES.} (199) second song is soft and graceful, and the first which reminds us of Mozart's later style. The bass part of Achior is less carefully written, and not nearly so bravura in style. The first song (6) is more noisy than vigorous, both in voice and accompaniment. This boisterous treatment of the bass voice was then common, and it was on that account excluded from the opera seria.[16] In this place it accords with the dread apparition of Holofernes which is described. The second song of Achior, after his conversion (12), is very simple and insignificant; the accompaniment is partly imitative. The two airs of Cabri (2) and Carmi (14) are, as usual with secondary parts, simple, and not without expression, but in no way original. The traditional aria form is adhered to in almost all the songs. The second part, distinct from the first in composition if not in time and measure, is short and superficially treated; generally only the last part of the first movement is repeated. The latter is broadly conceived, with long ritomelli; the invariable cadenza is brought in in the usual way. The accompaniment resembles that of operatic songs, but is more carefully worked out. Original passages for the second violins--sometimes, too, for the violas--occur, here and there, as well as attempts at imitation; and the wind instruments are occasionally employed independently. All these attempts show decided talent, but they are few and far between, and the orchestra has not the stamp of independent vigour. The choruses, although occupying more space in the composition, do not materially differ from those of the opera. The concluding chorus of the first part (8) is like a study for a recitative, turned into a chorus by means of the accompaniment, which consists of two alternate strongly marked subjects. The elaboration is not contrapuntal, but {ORATORIO.} (200) harmonic, and a simple but rich modulation gives significance to the movement. The voices give the full harmony, and a moderate amount of agitation in the melody and rhythm appears when the declamation demands it. The favourable pitch, the interesting modulation, the characteristic accompaniments, and the dignified seriousness which runs through the whole, all combine to make this chorus effective and excellent of its kind.