The first part, containing five numbers, opens with an orchestral prelude built on an ancient plain-song melody, _Rorate cœli_, in Isaiah’s prophecy. This leads into a quaint Pastoral, after which comes the angels’ announcement of Jesus’ birth and a _Gloria in excelsis_. A devotional setting of the old Latin hymn, _Stabat mater speciosa_, leads into two orchestral movements of great beauty--‘The Song of the Shepherds at the Manger,’ a lovely pastoral, and ‘The March of the Three Kings,’ an elaborate number in which the high tones of the violins and flutes typify the Star of Bethlehem. The second part contains ‘The Beatitudes’ for baritone and six-part chorus, the Lord’s Prayer, a part entitled ‘The Founding of the Church’ (_Tu es Petrus_), ‘The Miracle’ (Jesus calming the storm), again treated orchestrally, and ‘The Entry into Jerusalem,’ a brilliantly scored tone-picture, mainly instrumental, save for two vocal passages--a Hosanna for chorus and a Benedictus for mezzo-soprano and chorus. The third part opens with the pathetic solo _Tristis est anima mea_ (‘My soul is sorrowful’), in which the Christ pours out his soul to Peter and his companions on the way to Gethsemane. The orchestra plays a most important part in the expression of this tragic struggle, after which the ancient Latin hymn, _Stabat mater dolorosa_, is given with combined orchestral and choral forces. Of all the settings of this celebrated liturgic text, Liszt’s is the most powerful and impressive, though it is too overwhelming in its effect for use in the church-service. This lengthy and elaborate number is contrasted strongly with the following simple and quaint Easter hymn, _O filii et filiæ_, which prepares the listener for the majestic _Resurrexit_ (‘Resurrection’) which follows and builds up a final climax, with the combined resources of chorus and orchestra, that is really commensurate with the grandeur of the theme. Liszt himself regarded the _Christus_ as his best work--‘my musical will and testament’--and in works of its class it certainly stands unique in the intensity of its expression and in the unusual combination of mediæval church atmosphere and modern musical resources--a powerful fusing of the old and the new. It is scarcely an oratorio in the usual understanding of the term, but rather a kind of liturgic mystery, such as Lesueur strove to build up but did not complete. It cannot be considered apart from the religious faith of its composer and from this point of view it stands as the highest representative of Roman Catholic oratorio. V