awakening of the dead at the terrifying call of the angelic trumpets, of which St. Paul speaks in one of his epistles to the Corinthians.’ A short Prologue leads to the first part, _Mors_ (Death), which is a _Requiem_ expanded by interpolated texts of a reflective character. The second part, called _Judicium_ (Last Judgment), contains six subdivisions, as follows: The Sleep of the Dead, The Trumpets at the Last Judgment, The Resurrection of the Dead, The Judge, The Judgment of the Elect, The Judgment of the Rejected. The third part, _Vita_ (Life), using the text of St. John’s vision in the Apocalypse, describes the joys of the Holy City, New Jerusalem, closing with an exultant _Hosanna in excelsis_. Among the finest choruses of the oratorio are the _Quid sum miser_ (‘Ah! What shall we then be pleading’) and the _Lacrymosa dies illa_ (‘Day of weeping, day of mourning’) from the _Dies iræ_. Probably the greatest aria of the work is the soprano solo, _Beati qui lavant_ (‘The righteous shall enter into Glory Eternal’). The theme which Gounod has chosen presents opportunities for orchestral effects which such a master of orchestration as he was would naturally seize upon, and several of the numbers are for orchestra alone--The Epilogue to the first part, in which the various leading motives are developed, The Judge, and The Heavenly Jerusalem. FOOTNOTES: [80] These oratorios were, in addition to the one named, ‘Deborah,’ ‘Rachel,’ ‘Ruth and Naomi,’ ‘Ruth and Boaz,’ and the three ‘Coronation Oratorios’ written for the three days’ coronation ceremonies of Napoleon in 1804 (in reality three masses expanded so as to include the special ceremonies). CHAPTER IX THE MODERN ORATORIO Brahms: ‘German Requiem’; Dvořák: ‘St. Ludmila’--César Franck: ‘The Beatitudes’--Tinel: ‘Franciscus’; Benoît: ‘Lucifer’--Saint-Saëns: ‘Christmas Oratorio’; ‘The Deluge’; Massenet: _Ève_; _Marie Madeleine_; Dubois: ‘Paradise Lost’--Oratorio in England; Mackenzie: ‘The Rose of Sharon’; ‘Bethlehem’; Parry: ‘Judith’; ‘Job’; ‘King Saul’--Stanford: ‘The Three Holy Children’; ‘Eden’; Sullivan: ‘The Prodigal Son’; ‘The Light of the World’; Cowen--Oratorio in America; Paine: ‘St. Peter’; Horatio Parker: _Hora Novissima_; ‘The Legend of St. Christopher.’ I ‘The German Requiem’ is the largest of Brahms’ several choral works and was the first of his compositions to bring him fame and to verify Schumann’s enthusiastic prophecy concerning him. The work, consisting of seven numbers, is mainly choral, though there are baritone and soprano solos, and it was first heard in its entirety at Bremen on Good Friday, 1868. Its first English performance was in 1873 and it was heard for the first time in America at the Cincinnati May Festival in 1884 under Theodore Thomas’ direction.