{CHURCH MUSIC.} (252) and is strictly treated with the exception of the two fugues; it is worked out in severe contrapuntal form almost throughout, as the Kyrie, introduced by five bars of Adagio, will serve to show:--[See Page Image] {MASS IN C MAJOR, 1772.} (253) The whole work reminds us forcibly of Padre Martini's church compositions, and it is not surprising that the hand of a learner should be here apparent. A Mass in F major (116 K.), which breaks off at the words "sedet ad dexteram patris," is of the same kind, as well as a Kyrie in C major (221 K.). An Osanna in C major (223 K.) and a Credo ("in remissionem" to "mortuorum") belonging to it seem also to have been studies in counterpoint. A Mass in C major (139 K.), probably belonging to the year 1772, is an effort in quite another direction. Every means is employed to produce an extraordinary effect, and it may be conjectured that this, like the Pater Dominicus mass, was composed for some special occasion.[23] Every section is treated as a detached independent movement. The Kyrie begins with a slow pathetic passage in C minor, followed by an animated allegro in C major 3-4, and by the Christe eleison as a solo quartet, after which the Kyrie is repeated.[24] The solo voices are much used in different combinations, apart from the short passages inserted between the choruses. Laudamus is a duet for soprano and alto, Domine a duet for tenor and bass, Quoniam a soprano solo, Et incarnatus a duet for soprano and alto, Et in spiritum a tenor solo, and Benedictus a soprano solo, to which the chorus sings Osanna. Even the Agnus Dei begins with a tenor solo followed by a chorus; the last appeal before the Dona is given to the solo quartet. These solo movements are well rounded, and are both preceded and followed by long symphonies; the effort to produce a pleasing effect is apparent in the whole work, and a moderate amount of operatic bravura is not disdained. This brings into stronger relief the pathos which is given to every passage capable of it. The Qui tollis, Crucifixus, and Agnus, as well as the Kyrie, are in the {CHURCH MUSIC.} (254) minor key; striking harmonies are emphasised by means of the accompaniment, and three trumpets contribute to the orchestral effects. The solemn Crucifixus--[See Page Image] {MASS SS. TRINITATIS, 1773.} (255) follows in evident contrast immediately upon the soprano solo--[See Page Image] whereupon the chorus and orchestra, with three trumpets, fall in.