s Himmel and Winter. In 1803 Beethoven wrote his
only oratorio, "Christ on the Mount of Olives." This production has not
attained to the popularity of his instrumental works or of his single
opera, "Fidelio," in part because it is not in pure oratorio form, and in
part because of its wretched libretto. Schubert, contemporary with
Beethoven, also undertook an oratorio on the subject of "Lazarus;" but it
was never completed, and the fragment even was not heard until 1863.

The first really successful oratorio of the present century was "Das
juengste Gericht" ("The Last Judgment"), by Spohr, which was produced
under his own supervision at Erfurt in 1812. This oratorio, however, the
work of his earlier years, was but the prelude to his masterpiece, "Die
letzten Dinge" ("The Last Things"), which is now commonly known as "The
Last Judgment," and was first performed at Cassel in 1826. Nine years
later he brought out "Des Heiland's letzte Stunden" ("The Saviour's Last
Hours," now known as "Calvary"), and still later, "The Fall of Babylon,"
which he produced for the first time in England in 1843; but neither of
these are constructed upon the grand proportions which characterize "Die
letzten Dinge," or so well illustrate the profound musical knowledge of
the great violinist. Contemporary with Spohr was Schneider, an unusually
prolific writer, who produced no less than sixteen oratorios in a period
of twenty-eight years, in addition to a large number of operas. Though
his oratorios were very popular at the time, but one of them has
survived, the "Weltgericht," written in 1819. Among other contemporaries
were Lindpaintner, whose "Abraham" was very successful,--though this
composer is now remembered only by his orchestral pieces,--and Klein, who
brought out two oratorios, "Jephthah" (1828) and "David" (1830), which
were greatly admired, though they are now almost unknown.

Spohr had easily held his place in the first rank of the oratorio
composers of his time, but was eclipsed when Mendelssohn appeared, as
were all his contemporaries. This gifted composer had studied Handel and
Bach very closely. In 1829 he brought out the latter's "St. Matthew"
passion-music after it had lain concealed for an entire century. He
aroused enthusiasm for the two old masters both in Germany and England.
His "St. Paul," first produced at Duesseldorf in 1836, was greeted with
acclamations of enthusiasm, and still holds its place in the popular
regard. Ten