As concerns the musical construction in detail, a narrow mode of treatment resulted throughout from the conditions of worship; the words had to be composed straight through, just as in short Masses. A broader rendering of separate portions which might seem to lend themselves to musical expression was not admitted, and the endeavour after a dramatic characterisation of certain points did not come within the artistic usages of the time. The important point, therefore, was not to render the words in music, so as to give a new and fitting expression to each detail, but to invent characteristic motifs for the important points which should be suitable for further elaboration, and which, in spite of individual distinction, should spring from the fundamental conception of the whole work. The task of the composer is not made easier by the words of the psalms; they do not offer a good basis for musical construction, nor are the ideas conveyed in them generally such as would incite to musical production. The composer must therefore be original in no ordinary degree, and it is excusable if he now and then handles the rules and forms of his art with a certain amount of abruptness, and even makes verbal expression subservient to them, so far as it can be done without harmful pressure. In order to introduce variety among these closely allied compositions a certain type had been formed, which was not exactly the inevitable consequence of the effort to satisfy the rules of art and of good taste, but, as in the litanies, exercised considerable influence over the treatment of the text. The two vespers we are considering are very similar in form and workmanship. Various parts are treated in both with marked preference, and it is scarcely possible to place one before the other in merit, except that perhaps the earlier one is the more serious. The first psalm, Dixit Dominus, is formed into an {VESPERS, 1779, 1780.} (97) animated, restless movement, full of strength and dignity; while the same tone predominates in both, there is more fire and brilliancy in the first composition, more mildness and tranquillity in the second. The kind of treatment may be compared to that of the Gloria and Credo of the Mass. Without any sustained thematic elaboration, certain principal motifs are maintained and emphasised in different ways. The animated string passages are not only in varied harmonic combinations, but often in counterpoint, either imitative or a combination of the different subjects. The voices are free and independent, but with a few trifling exceptions they are treated harmonically; solo voices sometimes alternate with the chorus, but without any special prominence.