gio movement in B-flat minor, gives expression
to the vague yearnings of that time of doubt and hesitancy when the
"oracles were dumb," and the dawning of a new era of stronger and
diviner faith was matter of presentiment rather than of definite hope or
expectation. Though the tonality is at first firmly established, yet
as the movement becomes more agitated, the final tendency of the
modulations also becomes uncertain, and for a few bars it would seem as
if the key of F-sharp minor might be the point of destination. But after
a short melody by the wind instruments, accompanied by a rapid upward
movement of strings, the dominant chord of C major asserts itself, being
repeated, with sundry inversions, through a dozen bars, and leading
directly into the triumphant and majestic chorus, "The time is
fulfilled, and the kingdom of heaven is at hand." The second subject,
introduced by the word "repent" descending through the interval of a
diminished seventh and contrasted with the florid counterpoint of the
phrase, "and believe the glad tidings of God," is a masterpiece of
contrapuntal writing, and, if performed by a choir of three or four
hundred voices, would produce an overpowering effect. The divine call
of Simon Peter and his brethren is next described in a tenor recitative;
and the acceptance of the glad tidings is expressed in an aria, "The
spirit of the Lord is upon me," which, by an original but appropriate
conception, is given to the soprano voice. In the next number, the
disciples are dramatically represented by twelve basses and tenors,
singing in four-part harmony, and alternating or combining with the full
chorus in description of the aims of the new religion. The poem ends
with the choral, "How lovely shines the Morning Star!" Then follows the
sublime scene from Matthew xvi. 14-18, where Peter declares his
master to be "the Christ, the Son of the living God,"--one of the most
impressive scenes, we have always thought, in the gospel history, and
here not inadequately treated. The feeling of mysterious and awful
grandeur awakened by Peter's bold exclamation, "Thou art the Christ," is
powerfully rendered by the entrance of the trombones upon the inverted
subdominant triad of C-sharp minor, and their pause upon the dominant of
the same key. Throughout this scene the characteristic contrast between
the ardent vigour of Peter and the sweet serenity of Jesus is well
delineated in the music. After Peter's stirring aria, "