Some smaller choral works are some of them harmonic, some in more or less strict counterpoint. To the former belongs the "De profundis" (93 K.), in which the words of Psalm cxxix. and the appended doxology are set to music without abridgment, with little more rhythmical flow than the declamation of the words demands, and in the simplest harmonic progressions. A symmetrical work, quiet and serious, though without great depth of tone, is formed out of these very simple materials. The "Te Deum" (141 K.) resembles in its first movements many of the shorter masses; the words are sung once, without a developed theme or well-defined passages. The essential character of the work is modulatory, the connection depending on the arrangement of the harmonies and the harmonic groups; the voices merely sustain the harmonies, without any prominent melodic peculiarities. The conclusion forms an exception, the words, "In Te Domine speravi, non confundar in ætemum" being worked into a conventional, moderately long fugue, issuing into a powerful and effective closing phrase. A motett, "Misericordias Domini" (222 K.), which Mozart composed at Munich in 1775 as an exercise, is in counterpoint throughout. Padre Martini, to whom he sent it (September, 1776), pronounced, as his judgment on it, that it contained all which modern music demands--good harmonies, rich modulations, moderation in the violin passages, a natural and good arrangement of the parts--and he added that he congratulated the composer on the progress he had made. It was not without intention that the representative of counterpoint on the principles of the old Roman school emphasised modern music, the "buon gusto" of which did not altogether content him.[45] Mozart divided the sentence "Misericordias Domini cantabo in æternum" (Psalm lxxxviii.). The first words, {MISERICORDIAS, 1775.} (279) "Misericordias Domini," are delivered in slow notes, the second half in an agitated fugal passage, without change of tempo (moderato). The two alternate, and are developed with much originality, especially the first movement, where long-sustained notes for the voices serve as an organ-point against a passage for the violins, and give rise to striking harmonic transitions and progressions. The counterpoint of the second part is artistic and elaborate; besides the principal subject of the fugue there are two others leading out of it, treated in part independently, in part in combination with the principal subject and each other; the episodes are in strict counterpoint. The subject, as Stadler remarked,[46] is borrowed from an offertory by Eberlin, "Benedixisti Domine"; but Mozart's treatment, as a glance at the opening will show, is thoroughly original.[47] This admirable work has been overrated by Ulibicheff,[48] but very unfairly criticised by Thibaut.[49] He says:--