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en Jesus and the Woman is then resumed, leading to a solo by the latter ("Art Thou greater than our Father Jacob?"). The question is sung and repeated in declamatory tones constantly increasing in power and expressive of defiance. Bennett was a bitter opponent of Wagner; but in the unvocal and declamatory character of this solo, and in the dramatic force he has given to it, to the sacrifice of melody, he certainly ventured some distance in the Wagnerian direction. The next number, the reply of Jesus ("Whosoever drinketh"), sung, as usual, by the bass voice, is in striking contrast with the question. Instead of full orchestra, it has the accompaniment of the strings and first and second horns only, reminding one of Bach's method of accompanying the part assigned to Jesus in his St. Matthew Passion. This number is followed by a spirited fortissimo chorus ("Therefore with Joy shall ye draw Water"), sung to the full strength of voice and orchestra. After the dialogue in which Jesus acquaints the Woman with the incidents of her past life, the contralto voice has an exquisite solo ("O Lord, Thou hast searched me out"), full of tenderness and expression, in which the opening phrase is repeated in the finale and gains intensity by a change of harmony. The dialogue, in which the divine character of Jesus becomes apparent to the Woman, is resumed, and leads to a beautifully constructed chorus in six parts ("Therefore they shall come and sing"), followed by an impressive and deeply devotional quartet for the principals, unaccompanied ("God is a Spirit"),--to which an additional interest is lent from the fact that it was sung in Westminster Abbey upon the occasion of the composer's funeral. A few bars of recitative lead to a chorus in close, solid harmony ("Who is the Image of the Invisible God"), with organ accompaniment only, which in turn, after a few more bars of recitative for contralto and soprano, is followed by the chorus ("Come, O Israel"), sung pianissimo and accompanied by entire orchestra. The next number, as the oratorio is now performed, is one which has been introduced. It is a soprano aria, "I will love Thee, O Lord," which was found among the composer's manuscripts after his death. The preface to the revised edition of the oratorio has the following reference to this number:-- "In justification of so bold a step as the introduction of a new number, it is interesting to point out that the composer felt the Woman
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