Und der Verkehrte will sich bald ergeben, Wenn ihnen fühlbar sollte vor ihnen schweben Das Pein-und Schreckenbild des offnen Höllengrund, {STUDY IN SALZBURG.} (54) which have been given in secco-recitative, comes the strongly accented passage:-- [See Page Image] {FIRST ORATORIO, 1767.} (55) They are in the usual form, the principal subject elaborated and repeated after a short intermediate subject, with ritornellos differing in length and character, according to the commonly accepted varieties. The perfect decision of style and composition leaves the inexperienced hand of the scholar hardly visible, and it is plain that the boy has taken in and turned to account all that he has heard. But although the work may be considered on a level with most of the similar compositions of the time, it cannot be said to be distinguished from them by individual character. It conforms on all important points to the Italian style, although there is now and then a sentimental colouring suggested by Graun's German verses. The melodies are simple and good, with here and there a pure and dignified phrase, and a delicate expression of deep feeling. Witness the passage in the second soprano air, "Du wirst von deinem Leben genaue Rechnung geben," which is afterwards well made use of in the recitative. The very moderate embellishment of the whole work is in great measure the father's addition. The third tenor air rises above the level of the rest; the words, although themselves certainly not inspired, have given opportunity for the expression of a tender earnest mood in a charming flowing melody whose well-chosen harmonies and admirable instrumentation shadow forth unmistakably the later Mozart. He must himself have felt the charm of this air, for, as we shall see, he repeated it in his first opera. The finale of the oratorio is a pleasing terzet for two soprani and tenor, with the parts in easy imitation. The orchestra is the usual one of the day, stringed instruments, bassoons, seldom used independently, two horns, and two oboes, sometimes replaced by two flutes. The parts are, as was usual, carefully put together, but without any pretence to more than technical skill; only the second tenor air has an obbligato alto trombone accompaniment suggested by a reference in the text to the trump of doom.[7] {STUDY IN SALZBURG.} (56) A little cantata for two voices was also evidently composed for this Lent. It bears the title "Grab-Musik, 1767" (42 K.), and is a dialogue between the Soul and an Angel, the verses having a decided smack of the local poet of Salzburg. The Soul is intrusted to a bass voice, which was not employed in the oratorio. The cantata begins at once with a Recitative for the Soul: Meines Jesu gottlichs Herz Das reget sich nicht mehr, Und ist von Blut und Leben leer. Was für ein hartes Eisen Konnt dieses süsseste und allerliebste Herz zerreissen! Then follows the air--