ers. 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
Gounod employs the fugue form, he drops it as soon as the four voices
have fairly launched themselves.

The next number is the "Sanctus,"--a beautiful tenor aria with chorus,
full of that sweetness which is so characteristic of Gounod. It is
followed by the quartet, "Mighty Saviour, Jesus blest," which is deeply
religious in character; the lovely soprano solo and chorus, "Agnus Dei;"
and the chorus, "Lord,