[73] Fétis proves in his _Biographie universelle_ how materially Scarlatti influenced a more extended branching out of violin technique. [74] The first ecclesiastic who is known to have used a dramatic presentation of the Passion is St. Gregory Nazianzen (330-390). [75] Winterfeld, in _Der Evangelische Kirchengesang_, states that the earliest known Passion-music composed by a Protestant was published in Keuchenthal’s book (Wittenberg, 1573), which contained a German version of the Passion with four-part music for the recitation and choruses. [76] Though no accompaniment at all is indicated in the score of any of these Passion-oratorios, it is very probable that organ was used to accompany some parts. [77] Édouard Devrient, Mendelssohn’s friend and helper in the Bach revival. [78] Arthur Mees, ‘Choirs and Choral Music,’ p. 103. [79] Haydn (1732-1809) was Mozart’s senior by 24 years and was, therefore, fifty-six years old when the thirty-two-year-old Mozart wrote his greatest symphonies--the ‘Jupiter,’ the ‘Apollo’ and the one in E-flat major. CHAPTER VIII THE ORATORIO FROM BEETHOVEN TO BRAHMS Beethoven: ‘The Mount of Olives’; Spohr: ‘The Last Judgment’ and ‘Calvary’--Mendelssohn: ‘St. Paul’--‘Elijah’ and ‘Hymn of Praise’--Liszt: ‘St. Elizabeth’ and ‘Christus’--Oratorio in England; Sterndale Bennett: ‘The Woman of Samaria’; Costa’s ‘Eli’--Oratorio in France; Lesueur; Berlioz’s _L’enfance du Christ_--Gounod: ‘The Redemption’; _Mors et Vita_. I With the early years of the nineteenth century came many forces which fed the awakening desire for choral song. The dawning consciousness of national life in the Teutonic nations and the grateful sense of relief from Napoleonic oppression, with the accompanying train of intellectual activities which the new sense of freedom let loose--all contributed to develop, in Germany particularly, a new attitude toward choral song as an outlet for the expression of the newly-awakened sense of new relationships. Hence in Germany we will find the most important centre of choral activities in the first half of this century. Here many of that remarkable group of German composers who assumed undisputed leadership of the musical world during this period, gave to the oratorio their richest thoughts and maturest attention--among them Beethoven, Spohr, Mendelssohn and Liszt.