My heart is
glad," the dramatic climax is reached in the C-major chorus, "The Church
is built upon the foundation of the apostles and prophets."

The second scene is carried out to somewhat greater length,
corresponding nearly to the last half of the first part of "Elijah,"
from the point where the challenge is given to the prophets of Baal.
In the opening passages of mingled recitative and arioso, Peter is
forewarned that he shall deny his Master, and his half-indignant
remonstrance is sustained, with added emphasis, by the voices of the
twelve disciples, pitched a fourth higher. Then Judas comes, with
a great multitude, and Jesus is carried before the high-priest. The
beautiful F-minor chorus, "We hid our faces from him," furnishes the
musical comment upon the statement that "the disciples all forsook him
and fled." We hardly dare to give full expression to our feelings about
this chorus (which during the past month has been continually singing
itself over and over again in our recollection), lest it should be
supposed that our enthusiasm has got the better of our sober judgment.
The second theme, "He was brought as a lamb to the slaughter, yet
he opened not his mouth," is quite Handel-like in the simplicity and
massiveness of its magnificent harmonic progressions. With the scene
of the denial, for which we are thus prepared, the dramatic movement
becomes exceedingly rapid, and the rendering of the events in the
high-priest's hall--Peter's bass recitative alternating its craven
protestations with the clamorous agitato chorus of the servants--is
stirring in the extreme. The contralto aria describing the Lord's
turning and looking upon Peter is followed by the orchestra with a
lament in B-flat minor, introducing the bass aria of the repentant and
remorse-stricken disciple, "O God, my God, forsake me not." As the last
strains of the lamentation die away, a choir of angels is heard, of
sopranos and contraltos divided, singing, "Remember from whence thou
art fallen," to an accompaniment of harps. The second theme, "He that
overcometh shall receive a crown of life," is introduced in full chorus,
in a cheering allegro movement, preparing the way for a climax higher
than any yet reached in the course of the work. This climax--delayed
for a few moments by an andante aria for a contralto voice, "The Lord is
faithful and righteous"--at last bursts upon us with a superb crescendo
of strings, and the words, "Awake, thou that sleep