change, nevertheless, the composer's conviction that the
music must strive to be of adequate importance to the sacred words and
subjects caused a line to be drawn, ever growing more and more marked,
as time and growth in grace and knowledge went on, between the secular
and sacred musical drama.

In the seventeenth century we find Carissimi greatly advancing oratorio,
and composing really noble music. You may remember a revival of his
"Jephtha," by Mr. Henry Leslie, a few years back. Scarlatti, Stradella,
and others also contributed to this period. But, notwithstanding its
Italian birth and infancy, it remained for Germany to bring oratorio to
a vigorous manhood, and to its lofty position in the world of music. The
compositions of Handel and Bach, early in the eighteenth century, placed
this sacred art form upon a pinnacle of such height and strength, that
few composers have the stamina or knowledge wherewith to reach it.

Having gazed at this, for a time, culminating summit, let us go back to
the early days again for a moment to notice a branch of this tree, a
member of this sacred family, whose growth has been parallel with that
of the subject of our sketch, viz., the Passion oratorio, one dealing
with the sufferings and death of our blessed Redeemer. Foremost amongst
the miracle plays, in which originated the sacred drama, was the
representation, during Holy Week, of the Passion of our Lord. To this
day we have interesting relics of this custom, such as the Oberammergau
play in South Bavaria, the performances in the Sistine Chapel in Rome,
and in some parts of Spain. The oldest Protestant composition on this
subject was published in 1570.

At the commencement of the seventeenth century a great development
followed in the writings of Heinrich Schuetz, who wrote music to the
Passion, as told by all four evangelists, and whose tercentenary was
celebrated last year by commencing the publication of all his works. He
did much towards the great musical development in Germany. Following in
his footsteps came Sebastiani, at the end of the century, and Keiser at
the commencement of the eighteenth. In Keiser's Passion we find, in
addition to the Bible narrative, reflective passages for a chorus,
holding much the same functions as the old Greek chorus, with
interpolated solos for "the Daughter of Sion" and "the Believing Soul,"
some of which are used later on by Bach, especially in his setting of
the subject according to St. Jo