The second psalm, Confitebor tibi, Domine, is in the earlier Vesper (321 K.), a chorale with solo intermixed, accompanied only by the organ and stringed instruments (E minor 3-4). This mature and beautiful composition approaches the Mass in F major (Vol. I., p. 257) both in tender and fervent sentiment and in simplicity and purity of form. But there the treatment is contrapuntal throughout, here it is essentially harmonic. The independent progress of the voices displays a succession of rich and startling harmonies in animated but natural development; notwithstanding many suspensions and unexpected turns, they are always clear and melodious, and always the true and natural expression of the sentiment to be conveyed.[9] The frame of mind represented is not one of fanatical remorse, but rather of a soul penetrated with the feeling of guilt, and impelled to acknowledge it with shame and anguish. The moderate expression of such a mood, which might easily pass over into the sentimental, coincides with the symmetry of form observable in the main features as well as in the details of the work. The corresponding movement of the second Vesper (339 K.) is not to be placed on the same level as this. It maintains on the whole the tone of the first movement, with an increase of earnestness, {COURT SERVICE IN SALZBURG.} (98) and is a clever and melodious composition, with good effect in its place; but the poetical beauty of the other is altogether wanting. The third psalm, Beatus vir, has least original colouring. It is in both Vespers a lively, powerful, one might almost say, cheerful movement, suggestive of the Gloria or Credo of more than one mass, but without the solemnity which characterises them. Here, too, solo voices alternate with the chorus[10] without interrupting the steady flow of the composition. In the earlier work there are some beautiful harmonic effects; in the later, contrapuntal phrases sometimes occur; an animated rapid accompaniment by the violins is common to both. As in the Litany, the Pignus futuræ gloriæ, so in the Vesper the fourth psalm, Laudate pueri, was treated in severe counterpoint, and here it was that a thoroughly trained church composer made good his claim to the title. In the first of the Vespers that we are considering this psalm[11] is a clever piece of counterpoint, original in form, and deviating from the strict regularity which usually characterises Mozart. It begins with an infinite canon. The twelve bars melody for the soprano--[See Page Image] is imitated three bars later by the alto in unison. Then follows the tenor an octave higher, and then the bass in unison. After the completion of the melody the soprano again takes it up, alto and tenor follow. The regular progress of the canon is then broken by a complete final cadenza, in which all the voices unite on the last note of the bass melody. A short theme introduced by the bass--[See Page Image] {LAUDATE PUERI.} (99)