short theme is elaborated into a fine long movement, as interesting as it is expressive. The Gloria and the Credo do not reach the same height; the contrapuntal elaboration is only apparent in isolated passages, the solos are expressive, but over-graceful, the music proceeds in a fine flow, and delights the listener, but only now and then stirs deeper feelings. On the other hand, the Sanctus, Benedictus (a solo quartet), Agnus (alternate solo and chorus), are highly finished and tersely composed movements, in which beauty of form and sentiment combine. The somewhat lengthy Dona preserves its pleasing character, without degenerating into trifling. The effort to please by mere gracefulness is most predominant in the Mass in B flat major (275 K.), the date of which is not known. The commencement with a soprano solo[28]--[See Page Image] is characteristic of the whole mass. The solo element pre-dominates, and a wealth of lovely, seductive, and expressive melodies is scattered around; but neither the conception nor the execution takes a deep hold on the mind. The chorus is generally full, one might almost say merry; where harmonic or contrapuntal treatment comes to the front, it is executed with masterly ease; and such passages stand out in all the clearer relief against their surroundings. The principal passage of the Credo is striking:--[See Page Image] {CHURCH MUSIC.} (262) According to Lorentz it is a reminiscence--perhaps an accidental one--of a favourite Volkslied, "Bauer hang' den Pummerl an." The introduction of the following theme--[See Page Image] {LATER MASSES, 1775-77.} (263)