A brief but brilliant orchestral prelude leads to the opening chorus, "Stabat Mater dolorosa," arranged for solos and chorus, and very dramatic in style, especially in its broad, melodious contrasts. It is followed by the tenor solo, "Cujus Animam," which is familiar to every concert-goer,--a clear-cut melody free of embellishment, but very brilliant and even jubilant in character, considering the nature of the text. The next number ("Quis est Homo"), for two sopranos, is equally familiar. It is based upon a lovely melody, first given out by the first soprano, and then by the second, after which the two voices carry the theme through measure after measure of mere vocal embroidery, closing with an extremely brilliant cadenza in genuine operatic style. The fourth number is the bass aria "Pro peccatis," the two themes in which are very earnest and even serious in character, and come nearer to the church style than any other parts of the work. It is followed by a beautifully constructed number ("Eia Mater"), a bass recitative with chorus, which is very strong in its effect. The sixth number is a lovely quartet ("Sancta Mater"), full of variety in its treatment, and closing with full, broad harmony. After a short solo for soprano ("Fac ut Portem"), the climax is reached in the "Inflammatus,"--a brilliant soprano obligato with powerful choral accompaniment. The solo number requires a voice of exceptional range, power, and flexibility; with this condition satisfied, the effect is intensely dramatic, and particularly fascinating by the manner in which the solo is set off against the choral background. A beautiful unaccompanied quartet in broad, plain harmony, "Quando Corpus," leads to the showy fugued "Amen" which closes the work.