away." The
expression of delight over this victory is very well brought out, not
only in the music, but also in the arrangement of the Scriptural texts,
which begin with exhortations of praise, and appeals to those who have
been in distress and affliction to trust the Lord. The tenor, who may be
regarded as the Narrator, calls upon the Watchman, "What of the night?"
The response comes that the night has passed. In exultation over the
victory, once more the text ascribes praise to the Lord. "All that has
life and breath" sings to His name.

The symphony is in three parts, beginning with a maestoso movement, in
which the trombones at once give out the choral motive, "All that has
life and breath sing to the Lord,"--a favorite theme of Mendelssohn. This
movement, which is strong and energetic in character, is followed by an
allegretto based upon a beautiful melody, and to this in turn succeeds an
adagio religioso rich in harmony. The symphony clearly reflects the
spirit of the cantata, which follows. The opening chorus ("All that has
Life and Breath") is based upon the choral motive, and enunciates the
real hymn of praise. It moves along in a stately manner, and finally
leads without break into a semi-chorus, "Praise thou the Lord, O my
Spirit," a soprano solo with accompaniment of female voices. The tenor in
a long dramatic recitative ("Sing ye Praise, all ye redeemed of the
Lord") urges the faithful to join in praise and extol His goodness, and
the chorus responds, first, the tenors, and then all the parts, in a
beautiful number, "All ye that cried unto the Lord." The next number is
an exquisite duet for soprano and alto with chorus ("I waited for the
Lord"). It is thoroughly devotional in style, and in its general color
and effect reminds one of the arias, "O Rest in the Lord" from "Elijah,"
and "The Lord is mindful of His own" from "St. Paul." This duet is
followed by a sorrowful, almost wailing tenor solo, "The Sorrows of Death
had closed all around me," ending with the piercing, anxious cry in
recitative, "Watchman! will the Night soon pass?" set to a restless,
agitated accompaniment and thrice repeated. Like a flash from a cloud
comes the quick response of the chorus, "The Night is departing," which
forms the climax of the work. The chorus is beautifully constructed, and
very impressive in its effect. At first the full chorus proclaims the
night's departure; it then takes the fugal form on the words, "Therefore
let