e striking
than the orchestration of the introductory tenor recitative, the
mysterious chorus, "The voice of the Lord divideth the flames of fire,"
or the amazed query which follows, "Behold, are not all these who speak
Galileans? and how is it that we every one hear them in our own tongue
wherein we were born?" We have heard the opinion expressed that Mr.
Paine's oratorio must be lacking in originality, since it suggests such
strong reminiscences of "St. Paul." Now, this suggestion, it seems to
us, is due partly to the similarity of the subjects, independently of
any likeness in the modes of treatment, and partly, perhaps, to the fact
that Mr. Paine, as well as Mendelssohn, has been a devoted student of
Bach, whose characteristics are so strong that they may well have left
their mark upon the works of both composers. But especially it would
seem that there is some real, though very general resemblance between
this colloquial chorus, "Behold," etc., and some choruses in "St. Paul,"
as, for example Nos. 29 and 36-38. In the same way the scene in the
high-priest's hall might distantly suggest either of these passages, or
others in "Elijah;" These resemblances, however, are very superficial,
pertaining not to the musical but to the dramatic treatment of
situations which are generically similar in so far, and only in so far,
as they represent conversational passages between an apostle or prophet
and an ignorant multitude, whether amazed or hostile, under the sway of
violent excitement. As regards the musical elaboration of these terse
and striking alternations of chorus and recitative, its originality can
be questioned only after we have decided to refer all originality on
such matters to Bach, or, indeed, even behind him, into the Middle Ages.

After the preaching of Peter, and the sweet contralto aria, "As for
man, his days are as grass," the culmination of this scene comes in the
D-major chorus, "This is the witness of God." What follows, beginning
with the choral, "Praise to the Father," is to be regarded as an
epilogue or peroration to the whole work. It is in accordance with
a sound tradition that the grand sacred drama of an oratorio should
conclude with a lyric outburst of thanksgiving, a psalm of praise to the
Giver of every good and perfect gift. Thus, after Peter's labours
are ended in the aria, "Now as ye were redeemed," in which the twelve
disciples and the full chorus join, a duet for tenor and soprano, "Sing