is imitated by the other parts in similar or in contrary motion, and soon passes over into a short passage ending in D minor. Hereupon the soprano interposes with a new and characteristic melody--[See Page Image] the first bars of which are taken up by the other voices; but instead of a further elaboration, a new theme is introduced by the alto, followed by a counter-theme, which are both imitated together-- whereupon the alto raises a new melody, which is figured by the other parts in imitation as Cantus firmus, and closes in A minor. Then the alto begins with the previous soprano subject, but now in F major; the soprano follows with the second, but the imitative figuring soon gives place to a fine harmonic elaboration, followed by the third passage; the imitative parts maintain the same character, and the alto has now another Cantus firmus. To this at last is appended a long coda, formed of detachments of previous subjects, variously elaborated in stretto and contrary motion, ending in organ point on the dominant. It cannot fail to be remarked how tuneful and melodious, as well as independent, characteristic, and striking in their effect are the different parts. The melodies which compose the Cantus firmus may have been, in part at least, borrowed from church tones. Far more ambitious is the contrapuntal work in the second Vesper,[12] which consists of a close succession of {COURT SERVICE IN SALZBURG.} (100) difficult problems solved after the severest and most rigorous rules. After the first regular enunciation of the theme--[See Page Images] there occurs a second motif--which is at first treated freely, and issues into a short harmonic passage, which is afterwards used again as an interlude. Then the two motifs are combined--[See Page Image] and elaborated together, after which this section closes on the chord of the dominant in a stretto arrangement of the chief subject, while the violins take up the subordinate motif. When the chief subject has again asserted itself, there follows its inversion as a counter-subject--and regular elaboration, ending in the above interlude, after which the subject and its inversion appear together as an organ point on the fundamental tone, while the violins proceed with an independent accompaniment:--[See Page Images] After the previous stretto has again occurred on the chord of the dominant the two first subjects reappear in new {LAUDATE DOMINUM AND MAGNIFICAT.} (101) original climacteric treatment, divided between the voices and the accompaniment;--[See Page Image] A free conclusion brings the artistic and forcible work to an end.