"Christus, oratorio, with texts from the Holy Scriptures and the Catholic Liturgy," as Liszt entitles his work, was finished in 1866. At the outset the composer selected the "Hymn of Praise" and "Pater Noster" from Ruechert's "Evangelical Harmony;" and upon these and one or two other detached numbers for a background, he built up a series of religious events connected with the offices of the Church according to the Vulgate and its Liturgy. These events are laid out in three divisions,--"The Christmas Oratorio," "After Epiphany," and "The Passion and Resurrection;" the separate parts of which are as follows: (1) The Introduction. (2) Pastoral and Vision of the Angels. (3) Stabat Mater speciosa. (4) Song of the Shepherds in the Manger. (5) The Anointing of the three Kings. (6) Hymn of Praise. (7) Pater Noster. (8) The Establishment or Foundation of the Christian Church. (9) The Storm on the Lake. (10) The Entry into Jerusalem. (11) Tristis est anima mea. (12) Stabat Mater dolorosa. (13) Easter Hymn. (14) Resurrection of Christ. The motive of the work is announced in Saint Paul's words to the Ephesians: "But speaking the truth in love, may grow up into him in all things, which is the head, even Christ." The long instrumental introduction is constructed upon a theme representative of a text from Isaiah, "Resound, ye Heavens above," many times repeated, and leading to a pastoral which prepares the way for the angelic announcement to the shepherds. This announcement is made in the simple collect music by a soprano solo, and replied to by a female chorus, first accompanied by string quartet, and then by full orchestra, and leading to the full chorus, "Gloria in excelsis," a series of mighty shouts, closing with a stately Hallelujah and a return of the orchestra to the pastoral movement. The next division is the old Latin hymn, "Stabat Mater speciosa," the Virgin at the cradle of our Lord,--a six-part chorus in church style, accompanied by the organ, with solo variations interspersed through it, and characterized by a lofty feeling of devotion, especially in the "Inflammatus" and the majestic final "Amen." The remaining numbers of the first part are entirely instrumental, including the "Shepherd's Song at the Manger," a pastoral full of beautiful effects, and "the Three Holy Kings," a march which is majestic in its style and broad in its rhythm, and full of characteristic color. The two numbers close the part in a brilliant and jubilant manner.