a pastoral which prepares the way for the
angelic announcement to the shepherds. This announcement is made in the
simple collect music by a soprano solo, and replied to by a female
chorus, first accompanied by string quartet, and then by full orchestra,
and leading to the full chorus, "Gloria in excelsis," a series of mighty
shouts, closing with a stately Hallelujah and a return of the orchestra
to the pastoral movement. The next division is the old Latin hymn,
"Stabat Mater speciosa," the Virgin at the cradle of our Lord,--a
six-part chorus in church style, accompanied by the organ, with solo
variations interspersed through it, and characterized by a lofty feeling
of devotion, especially in the "Inflammatus" and the majestic final
"Amen." The remaining numbers of the first part are entirely
instrumental, including the "Shepherd's Song at the Manger," a pastoral
full of beautiful effects, and "the Three Holy Kings," a march which is
majestic in its style and broad in its rhythm, and full of characteristic
color. The two numbers close the part in a brilliant and jubilant manner.

The second part opens with the "Seligkeiten" ("Hymn of Praise"), a grand
declamatory solo for baritone, accompanied by a six-part chorus, which,
like the next number, was written by Liszt in his younger days and
utilized in its present setting. The hymn is accompanied by organ
throughout, and is followed by the "Pater Noster," also with organ,--a
fervent, almost passionate, offering of prayer by the precentors and
congregation, closing with a mighty "Amen." In the next number--the
founding of the Church ("Tu es Petrus"), beginning with male chorus--the
orchestra resumes its work. The voices move on in stately manner until
the words, "Simon, son of Jona, lovest thou me?" are reached, when the
full chorus comes in with imposing effect. Of this number, Nohl says in
his fine analysis of "Christus:"--

"The perishable, sinful world in all its aspects is here contrasted
with an undoubting faith in an everlastingly constant higher ideal, to
give it this name. That it is the spirit of the subject, not its mere
perishable husk, is shown by the nature of the melody, which rises to
the most powerful expression of the final victory of this spirit of
love. Now again the full orchestra joins the double chorus; for the
world, the whole world, is meant."

The next scene, entitled "The Wonder," is purely instrumental, and is a
marvellous picture