Far more important is the second Litany in D major (195 K.), belonging to the year 1774, the same in which the Masses in F and D major and the "Finta Giardiniera" were written; the maturity of its conception and the carefulness of its execution make it worthy to take a place beside these works. The Kyrie is a grand, lovingly elaborated movement, a solemn Adagio, followed by a serious sustained Allegro. The parts are throughout in strict counterpoint, principal and accessory subjects kept well in hand {CHURCH MUSIC.} (270) and carefully elaborated; the orchestra, too, is independently treated. The expression is appropriate and dignified, and over the whole is spread a peaceful calm, bespeaking the nature of the music to which it forms the introductory movement. The first section of the Litany proper gives us the impression of a cheerful--one might almost say _sensuous_--spirit pervading each petition, but always with a tone of delicate moderation. The musical formation betrays the unmistakable influence of the opera, both in the solo soprano passages and in the aria-like treatment of the principal subject. Refrain is used with happy effect in the chorus, and the accompaniment is easy and flowing throughout. The whole movement is melodious, and full of tender grace and harmony. In quite another style is the Adagio next following, where the words "Salus infirmorum, refugium peccatorum, consolatrix afflictorum, auxilium Christianum," are taken together. The construction of this movement, the arrangement and gradations of the details, the alternations of solo and chorus, the characteristically careful elaboration of the accompaniment, are all so admirably calculated and balanced, and the whole movement is pervaded with so much earnestness and depth of sentiment, that beauty and grandeur seem here indeed to be wedded together. The following section, "Regina ange-lorum," is again in a lighter vein; the choruses are fresh and animated, but the interpolated tenor solo is operatic in form and weak in invention and expression. The "Agnus Dei" is divided between a solo soprano and the chorus; the former, though evidently composed for executive display, is not without feeling and dignity; the short choral passages are excellent, both in workmanship and expression. Very evident, also, is the loving care bestowed on the orchestral score; its main strength lies in the delicately elaborated string quartet, but the wind instruments are also effectively made use of to produce lights and shadows. The mature and harmonious beauty of the numerous motifs and characteristic passages conveys the unmistakable impression of Mozart's genius. Of a third Litany for four voices without accompaniment, {LITANY TO THE HOLY SACRAMENT, 1772.} (271) the opening bars of the Kyrie (340 K.) and Sancta Maria in C major (325 K.), and of the Salus infirmorum in C minor (324 K.) are unhappily all that is preserved.