ning in the last words.
These are very lightly accompanied. Immediately thereupon, the entire
chorus, orchestra and organ, with the utmost power, come in with the
same melody, "Holy, Holy Is God, the Lord." This antiphon between the
full chorus and the female quartette continues in varying style
throughout the chorus, and the result is thrilling in the extreme.
Extremely dramatic, also, is the great chorus "Thanks Be to God, for
He Laveth the Thirsty Land." There are many solo numbers in the work,
all of them remarkable for the care with which the text is treated,
and the clearness with which the musical utterance expresses the
words. The famous tenor song, "If with All Your Hearts Ye Truly Seek
Him," the alto song, "Oh Rest in the Lord," the angel trio, "Lift
Thine Eyes," the great soprano song, "Hear Ye Israel," and the bass
aria, "It Is Enough," and especially the prayer of Elijah, "Lord God
of Abraham, Isaac and Israel," are scarcely surpassed in the entire
range of oratorio music. There is very remarkable instrumentation,
also in the scenes on Mt. Carmel, and especially at the series of
choruses where "God, the Lord, Passed By."

During his life, Mendelssohn was very highly esteemed as a composer of
orchestral music, symphonies and overtures. While his works in this
department contain many beauties, and are carried out with elegant
clearness of form, and with that refinement and taste which
characterized everything which Mendelssohn did, they have not
maintained their reputation at the high level where it formerly stood.
It was Mendelssohn's fortune to be one of the masters instrumental in
introducing the romantic school; but upon principle and education he
was classical in his taste and instincts, and while his works had a
very important use in cultivating an appetite for novelty, whereby the
other masters of the romantic school profited later, he went so short
a distance in the new path that the march of events has since left him
somewhat behind.

II.

If it were asked to name the two masters most representative of the
nineteenth century, one could scarcely go amiss, the names of Robert
Schumann and Richard Wagner immediately occurring. Robert Schumann
(1810-1856), the son of a very intelligent book seller, was born at
Zwickau, in Saxony, and was intended for the law. He received lessons
in music at an early age, and his talent was unmistakable. When he was
about eleven he accompanied a performance of Frede