‘Hungarian Coronation Mass.’--This work, which Liszt wrote in 1867, though also beautiful and interesting, is by no means as fine as the ‘Graner Mass.’ Possibly it was written more hurriedly; certainly it is not as strong as the earlier work. Both masses contain unusual effects, through the frequent employment of unison vocal parts. VIII In addition to the religious music already mentioned and much liturgic music, Gounod wrote four masses, of which the first _(Messe solennelle à Sainte Cecile_) is the most important and the most popular. The second (_Angeli custodes_) was written in 1882; the third (_Messe à Jeanne d’Arc_) was performed at the Cathedral of Rheims in 1887 and the fourth appeared in 1888. The ‘St. Cecilia Mass’ was an early work and its unusually enthusiastic reception by the English public when several movements were performed at a concert in London on January 13, 1851, first called the attention of the musical world to the young composer’s great ability. It was not performed entire in Paris, however, until Nov. 22, 1855, at one of the annual St. Cecilia celebrations at the church of St. Eustache. The London success was repeated at the Paris performance and this mass, among Gounod’s religious music, shares the same popularity as does his ‘Faust’ among his operas. It is pervaded by an atmosphere of simplicity that offsets the dramatic painting of Berlioz. In addition it possesses grace, nobility and charm, though its melodies are frequently cloying with their sweetness. The finest numbers are the devotional _Kyrie_, the powerful _Credo_, the familiar _Sanctus_ with its fine tenor melody which recurs at the close, delivered with full chorus in pompous, jubilant tone; and the _Benedictus_, which is treated in old ecclesiastical chant style for soprano solo and organ accompaniment, which is later softly repeated by a six-part chorus. Dvořák’s _Requiem_ was written for and performed at the Birmingham Festival in 1891. The most beautiful portion is the _Agnus Dei_, but, while the music throughout is sad and soulful and shows excellent workmanship, it is not as strong as the composer’s _Stabat Mater_, revealing much imitation of Berlioz. Throughout the score (in vocal and orchestral parts) he makes frequent use of a short, poignantly incisive motive compressed within the compass of a diminished third, sometimes with soul-shattering effect.