Hiller speaks with great admiration of the pilgrims' chorus, to which Hasse has set the chorale "O Lamb of God" in such a way "that its whole attraction consists in the alternation of the voices and of the various instruments among whom the melody is divided; the bass and violin are in unison throughout, and give animation to the whole, with a simplicity that is worth more than ten fugues, and which betrays more insight into the true beauty of song than the most artistic counterpoint." It almost seems as if Hiller wished to point at J. S. Bach, and remembering some of the marvellous creations of Bach--for instance, the first chorus in the St. Matthew "Passion Music"--the contrast between different artistic tendencies and personalities can hardly be better exemplified than by comparing him and Hasse. Hasse has succeeded in bringing the chorale into accordance with the Italian style of his oratorio, but he loses thereby the proper significance and effect of the chorale. The way in which Mozart has introduced the Catholic church melodies unaltered is, from this point of view, grander and more striking. And Hasse was looked upon in Mozart's day as a representative of the good old times in the traditions of which he had been educated. FOOTNOTES: [Footnote 1: Winterfeld, Gabrieli, II., p. 146. Kiesewetter, Schicks. d. weltl. Ges., p. 58.] [Footnote 2: P. J. Bacci, vita di S. Filippo Neri (Rom., 1646), I., 19,4 p. 81: Che si cantasse ordino qualche laude spirituale per sollevamento degli animi degli ascoltanti.] [Footnote 3: Bacci, II., 7,11: Nel tempo del camevale per levar loro 1' occasione di andar al corso o aile commedie lascive era solito far fare delle rappresentationi.] [Footnote 4: Menestrier (Des Reprès. en Musique, p. 191)--followed by Bonnet, Hist.de Musique, p. 373, or Bourdelot, Hist, de Mus. I., p. 295--ascribes the introduction of "musique dramatique" to Filippo Neri: "faisant composer par les plus habiles maîtres de musique des récits et des dialogues sur les principaux sujets de l'écriture sainte, il faisoit chanter par les plus belles voix de Rome ces récits dans son église," and brings forward as examples "Jesus and the Samaritan Woman," "Job and his Friends," "The Annunciation," &c. But he seems to have forestalled later performances.] [Footnote 5: Burney,Gen. Hist, of Mus., IV., p. 96. Kiesewetter, Schicks d. weltl. Ges., p. 44.] [Footnote 6: Schelle thought that the vastness of the oratorium of the Chiesa Nuova was unsuited for such performances (N. Zeitschr. f. Mus., LX., p. 79); but there is decided testimony against this view.] [Footnote 7: P. delle Valle, in a letter written 1640. Doni, Opp., II.]