. The general effect is tragic rather than pathetic, as if
the composer were contemplating not so much the grief of the Virgin
Mother at the foot of the Cross as the awful nature of the tragedy itself
and its far-reaching consequences.

The second number is the quartet "Quis est homo." After a short
introduction, the theme is taken by the alto, followed by the tenor and
bass, and lastly by the soprano, the general structure growing more
elaborate at each entrance. After the second subject is introduced a
splendid climax is reached, and in the coda the voices whisper the words
"vidit suum" to an accompaniment of wind instruments in sustained and
impressive chords.

The third number, "Eia Mater," is built up on an exceedingly brief
motive, which is augmented with surprising power in choral form. It is a
work of scholarly skill, and yet is full of charm and grace, and will
always commend itself even to the untutored hearer by its tenderness and
pathetic beauty.

The fourth number, "Fac ut ardeat cor meum," for bass solo and chorus,
like the third is most skilfully constructed out of small materials, and
has a fine contrast between the solo and the chorus, which at its
entrance is assigned to the female voices only, with organ accompaniment.

The fifth number is the chorus "Tui nati vulnerati," which is remarkable
for the smooth and flowing manner in which its two subjects are treated.

The sixth number, "Fac me vere tecum flere," for tenor solo and chorus,
is very elaborate in its construction. A stately theme is given out by
the tenor, repeated in three-part harmony by male voices, the
accompaniment being independent in form; the subject then returns, first
for solo, and then for male voices, in varying harmonies. After a brief
vocal episode the subject reappears in still different form, and,
followed by the episode worked up at length in a coda, brings the number
to its close.

The seventh number, "Virgo, virgonum praeclara," for full chorus, is
marked by great simplicity and tenderness, and will always be one of the
most popular sections of the work.

The eighth number, "Fac ut portem," is a duet for soprano and tenor,
responsive in character, and constructed on very simple phrases presented
in varying forms both by the voices and orchestra.

The ninth number, "Inflammatus et accensus," is one of the most masterly
in the whole work. It is an alto solo composed of two subjects, the first
very majestic, and the s