drift and finality of climax.

When the rhythm of the _canto fermo_ is not uniform, or when pauses
intervene between its phrases, whether these are different figures or
repetitions of one figure in different parts of the scale, the device
passes into the region of free art, and an early example of its simplest
use is described in the article MUSIC as it appears in Josquin's
wonderful _Miserere_. Orlando di Lasso's work is full of instances of
it, one of the most dramatic of which is the motet _Fremuit spiritu
Jesus_ (_Magnum Opus_ No. 553 [378]), in which, while the other voices
sing the scripture narrative of the death and raising of Lazarus, the
tenor is heard singing to an admirably appropriate theme the words,
_Lazare, veni foras_. When the end of the narrative is reached, these
words fall into their place and are of course taken up in a magnificent
climax by the whole chorus.

The free use of phrases of _canto fermo_ in contrapuntal texture,
whether confined to one part or taken up in fugue by all, constitutes
the whole fabric of 16th-century music; except where polyphonic device
is dispensed with altogether, as in Palestrina's two settings of the
_Stabat Mater_, his _Litanies_, and all of his later _Lamentations_
except the initials. A 16th-century mass, when it is not derived in this
way from those secular melodies to which the council of Trent objected,
is so closely connected with Gregorian tones, or at least with the
themes of some motet appropriate to the holy day for which it was
written, that in a Roman Catholic cathedral service the polyphonic music
of the best period co-operates with the Gregorian intonations to produce
a consistent musical whole with a thematic coherence almost suggestive
of Wagnerian _Leitmotif_. In later times the Protestant music of Germany
attained a similar consistency, under more complicated musical
conditions, by the use of chorale-tunes; and in Bach's hands the fugal
and other treatment of chorale-melody is one of the most varied and
expressive of artistic resources. It seems to be less generally known
that the chorale plays a considerable though not systematic part in
Handel's English works. The passage "the kingdoms of the world" in the
"Hallelujah Chorus" (down to "and He shall live for ever and ever") is a
magnificent development of the second part of the chorale _Wachet auf_
("Christians wake, a voice is calling"); and it would be easy to trace a
German or Roman origin for