Christmas Oratorio. "Noel," Saint-Saens' Christmas oratorio, in dimensions hardly exceeds the limits of a cantata, but musically is constructed in oratorio style. Its subject is the nativity, combined with ascriptions of praise and a final exultant hallelujah. The work is short, but very effective, and is written for five solo voices and chorus, with accompaniment of strings and organ, and the harp in one number. It opens with a pastoral symphony of a very melodious character. The first number is the recitative, "And there were Shepherds," including the angelic message and the appearance of the heavenly hosts, the subject being divided among the tenor, alto, soprano, and baritone, and leading up to the first chorus ("Glory now unto God in the highest"), which is quite short, but beautifully written. The next number is an aria for mezzo-soprano ("Firm in Faith"), which is very simple, but graceful in its melody. The fourth number is a tenor solo and chorus ("God of all"), written in the church style, followed by a soprano and baritone duet ("Blessed, ever blessed"), which is very elaborate in its construction, and highly colored. The next number is the chorus, "Wherefore are the Nations raging," which is intensely dramatic in its effect, especially for the manner in which the voice-parts are set off against the agitated accompaniment. The contrasts also are very striking, particularly that between the tumultuous opening of the chorus and its tranquil close in full harmony on the words, "As it was in the Beginning." The next number is a lovely trio for tenor, soprano, and baritone ("Thou art from first to last"), with harp accompaniment throughout, which gives to it an extremely graceful and elegant effect. It is followed by a quartet ("Alleluia"), in which the theme is introduced by the alto. The Alleluia is then taken up by all four parts (soprano, mezzo-soprano, alto, and baritone), in full, rich harmony, the alto closing the number alone in a very effective adagio passage. The next number is a quintet and chorus, the prelude to which is a repetition of parts of the opening pastoral. It is also utilized in the voice parts. The number is very elaborate in its construction and development, and is followed by a short final chorus ("Raise now your Song on high") in simple church style. Short as the work is, it is very beautiful, and full not only of genuine service music, but also of graceful conceits and delicate fancies, both in the voice parts and the accompaniments. SCHUMANN.