But the youthful master does not neglect the display of his skill in counterpoint. Besides some few instances of more or less elaborate imitation, the two customary fugues, the first on the theme--[See Page Image] the second "et vitam" are furnished with two subjects and every requisite for complete fugues. It is true that the strongly contrasting original ideas exist only as such, and form no united whole, so that we are all the more struck by the conventional treatment of the greater part of the work; but it must be conceded, notwithstanding, that progress has been made, and that the power is making itself felt which, with a wider field, shall produce better and more original work. The mass composed in 1773 "In honorem SS. Trinitatis" (167 K.) is for chorus alone, without any solo movements: it displays no very high aim, but earnestness and ability throughout. The Kyrie is long and elaborate, without any sustained subject. In the Gloria the voices sustain the harmony, accompanied by a lively violin passage. The Credo is interesting through the persistent attempt to mould it into a firm musical organism. Three motifs occur quite at the beginning, apportioned in different combinations to the voices, viz., a rhythmical, characteristic passage--[See Page Image] a more melodious phrase-- {CHURCH MUSIC.} (256) and a running passage:--[See Page Image] {MASS SS. TRINITATIS, 1773.} (257) These three subjects form the essential substance of the Credo, the first, with changing harmonies, forming the root whence the others spring at fitting places, by which means the due expression of the words and the musical exigences of the composition are alike provided for. The continuous agitation is only once interrupted, at the short but grave and dignified "Et incarnatus est," and at the words "Et in Spiritum Sanctum." These points are emphasised by their separation from the rest through a long symphony, and by a digressive mode of treatment which reminds one of a solo. Towards the end of the broadly elaborated fugue, "Et vitam," the violins return to the first motif of the Credo, the voices take up the second motif with the "Amen," and the violins, asserting the supremacy of the first, bring the whole to a conclusion. The Benedictus is unusually grave for a chorus, but is relieved by the easy grace of the violins. The thematic treatment of the principal subject of the Dona--[See Page Image] gives it firmness and consistency; the accompaniment becomes more prominent in the middle, and the admirably well-sustained conclusion is dignified in mood and expression. The Mass in F major (192 K.), composed on June 24,1774, is the work of a finished artist, and has rightly been placed {CHURCH MUSIC.} (258)