forever let Light Eternal." The first part is
rounded off with an epilogue, an interlude for full orchestra and organ,
based upon the first and second typical melodies, forming a consistent
and stately finale to this part of the work.

The second part is peculiar for the prominence which the composer assigns
to the orchestra. It opens with a well-sustained, gentle adagio movement,
entitled "The Sleep of the Dead," which at times is somewhat harshly
interrupted by the third typical melody, announcing the awakening of the
dead at the terrifying call of the angelic trumpets. This is specially
noticeable in that part of the prelude called "The Trumpet of the Last
Judgment," in which the trombones, trumpets, and tubas are employed with
extraordinary effect. Still a third phrase of the prelude occurs,--"The
Resurrection of the Dead,"--which is smooth and flowing in its style, and
peculiarly rich in harmony. A brief recitative by baritone ("But when the
Son of Man") intervenes, immediately followed by another instrumental
number, entitled "Judex" ("The Judge"),--one of the most effective pieces
of orchestration in the oratorio, based upon the motive which indicates
the tempering of justice with mercy, given out by the strings in unison.
It preludes a short chorus ("Sitting upon the Throne"), the previous
melody still continuing in the orchestra. The "Judgment of the Elect"
follows, pronounced by the baritone voice in recitative, and leading
directly to the soprano solo, "The Righteous shall enter into Glory
eternal,"--the most exquisite solo number in the work,--followed by an
effective chorale ("In Remembrance everlasting"). Then follows "The
Judgment of the Rejected," consisting of baritone solos and chorus,
closing the second part.

The third part celebrates the delights of the celestial city as pictured
in the apocalyptic vision of Saint John, and is in marked contrast to the
gloom and sombreness of the Requiem music, as well as the terrors of the
Judgment. It is bright, jubilant, and exultant throughout. The title of
the prelude is "New Heaven, New Earth." The baritone intones the
recitative ("And I saw the New Heaven"), which is followed by another
delightful sketch for the orchestra ("Celestial Jerusalem"),--a most
vivid and graphic picture of the subject it describes. The remaining
prominent numbers are the "Sanctus" chorus, the celestial chorus ("I am
Alpha and Omega"), and the final chorus ("Hosanna in Excelsis"), w