As if for refreshment after this effort, the fifth psalm, Lau-date Dominum, is treated as a solo movement of a pleasing character. In the earlier vesper it is a soprano solo with organ obbligato, not certainly set in prescribed aria form, but in its brilliant passages and easy grouping of the melodies more akin to secular music than any other of Mozart's church compositions of this period. In the second vesper the psalm has a more solemn character, but even here it is a mild and tender soprano solo, somewhat pastoral in tone, and supported by a solo bassoon; simple throughout, and with a fine climax at the close, the doxology being sung by the chorus. The Virgin's hymn of praise, "Magnificat anima mea," which forms the conclusion of the Vespers, is by its form the part best fitted for musical rendering. But the connection in which it here stands with the preceding psalms obliges a corresponding treatment both as to extent and conception. We must not therefore look either for a comprehensive treatment giving free development to the details of the separate sentences, such as is to be found in the Magnificats of some great masters, or for such an amount of dramatic characterisation as the words give scope for. The text is tersely and precisely treated, with the avowed intention of concluding the work with a movement in contrast to the {COURT SERVICE IN SALZBURG.} (102) first psalm. This is evident not only in the external arrangement, which introduces trumpets and drums, and returns to the original key, but in the technical treatment and the closely allied tone of expression. The expression of firm and cheerful confidence, which is common to both, is naturally accentuated in the Magnificat in accordance with the text, and the lively expectation of the first psalm is now turned into thanksgiving for its fulfilment. The technical treatment of the Magnificat is consistently more important and animated, especially in the extended use of the forms of counterpoint; but in the main the two compositions have the same tone and colour, and the same condensed and impulsive style. The words "Magnificat anima mea Dominum" form a solemn introduction as a short slow movement; "Et exultavit" is in quicker tempo, which is maintained to the end, chorus and solo alternating in the usual way. Here again it is to be noticed that different points are accentuated in the earlier Magnificat chiefly by harmonic means, in the second chiefly by counterpoint.