The prologue, which is sustained by the chorus and baritone solo, declares the terrors of death and the judgment. The chorus intones the words, "It is a Fearful Thing to fall into the Hands of the Living God," and in this phrase is heard the chief motive, heavily accented by the percussion instruments,--the motive which typifies death both of the body and of the unredeemed soul. Immediately after follows the baritone voice, that of Jesus, in the familiar words, "I am the Resurrection and the Life." The chorus repeats the declaration, and the Requiem Mass then begins, divided into various sections, of which the "Dies Irae" is the most important; this in turn subdivided in the conventional form. After an adagio prelude and the intonation of the "Requiem aeternam," an interpolated text occurs ("From the Morning Watch till the Evening"), set as a double chorus without accompaniment, in the genuine Church style of the old masters. It leads directly to the "Dies Irae," in which the death motive already referred to frequently occurs. It is laid out in duets, quartets, and arias, with and without chorus, very much in the same tempo and of the same character of melody. The verse, "Ah! what shall we then be pleading?" for quartet and chorus, is remarkable for its attractive melody. It is followed by a soprano solo and chorus ("Happy are we, with such a Saviour") of a reflective character, which gives out still another very tuneful melody. The hymn is then resumed with the verse, "Faint and worn, thou yet hast sought us," for duet and chorus, which is of the same general character. The next verse, "Lord, for Anguish hear us moaning," for quartet and chorus, is very effective and elaborate in its construction, particularly as compared with that immediately following ("With the Faithful deign to place us"), a tenor solo of a quaint and pastoral character. The next number for chorus ("While the wicked are confounded") affords still another striking contrast, being in the grandiose style and very dramatic, closing with phrases for the solo voices expressive of submission and contrition. Up to this point the "Dies Irae" has been monotonous in its sameness of general style; but the next verse ("Day of Weeping, Day of Mourning") is a beautiful and thoroughly original number of very striking effect. It leads directly to the offertory ("O Lord Jesus Christ, King of Glory"), which is composed of a chorus for eight parts, a soprano solo ("But, Lord, do thou bring them evermore"), a chorus ("Which once to Abraham"), and a second chorus ("Sacrifice of Prayer and Praise"). The soprano solo is a delightful melody, sung to a delicate accompaniment of the strings, with occasional chords on the harp, and based upon the beautiful second typical motive, which the composer styles "The Motive of Happiness." The chorus, "Which once to Abraham," is set in fugue form, which is the conventional style among composers with this number; but, as in "The Redemption," whenever