The score opens with an adagio introduction for instruments which is of a very dramatic character, and, unlike nearly all of the sacred music of that time, is noticeable for the absence of the fugue. Barbedette, the great French critic, pronounces it the _chef-d'oeuvre_ of introductions, and a masterpiece in the serious style. The first number is a recitative and aria for tenor, sung by Jesus ("All my Soul within me shudders"), which, notwithstanding the anomaly of such a scene in such surroundings, is simple and touching in expression. The Seraph follows with a scene and aria ("Praise the Redeemer's Goodness"), concluding with a brilliant and jubilant obligato with chorus ("O triumph, all ye Ransomed"). The next number is an elaborate duet between Jesus and the Seraph ("On me then fall Thy heavy Judgment"), which is still more anomalous than the scene and aria with which Jesus opens the work. In a short recitative passage, Jesus welcomes death; and then ensues one of the most powerful numbers in the work, the chorus of Soldiers in march time ("We surely here shall find Him"), interspersed with the cries of the People demanding his death, and the lamentations of the Apostles. At the conclusion of the tumult a dialogue ensues between Jesus and Peter ("Not unchastised shall this audacious Band"), which leads up to the crowning anomaly of the work, a trio between Jesus, Peter, and the Seraph, with chorus ("O, Sons of Men, with Gladness"). The closing number, a chorus of angels ("Hallelujah, God's Almighty Son"), is introduced with a short but massive symphony leading to a jubilant burst of Hallelujah, which finally resolves itself into a glorious fugue, accompanied with all that wealth of instrumentation of which Beethoven was the consummate master. In all sacred music it is difficult to find a choral number which can surpass it in majesty or power.