en Jesus and
the Woman is then resumed, leading to a solo by the latter ("Art Thou
greater than our Father Jacob?"). The question is sung and repeated in
declamatory tones constantly increasing in power and expressive of
defiance. Bennett was a bitter opponent of Wagner; but in the unvocal and
declamatory character of this solo, and in the dramatic force he has
given to it, to the sacrifice of melody, he certainly ventured some
distance in the Wagnerian direction. The next number, the reply of Jesus
("Whosoever drinketh"), sung, as usual, by the bass voice, is in striking
contrast with the question. Instead of full orchestra, it has the
accompaniment of the strings and first and second horns only, reminding
one of Bach's method of accompanying the part assigned to Jesus in his
St. Matthew Passion. This number is followed by a spirited fortissimo
chorus ("Therefore with Joy shall ye draw Water"), sung to the full
strength of voice and orchestra. After the dialogue in which Jesus
acquaints the Woman with the incidents of her past life, the contralto
voice has an exquisite solo ("O Lord, Thou hast searched me out"), full
of tenderness and expression, in which the opening phrase is repeated in
the finale and gains intensity by a change of harmony. The dialogue, in
which the divine character of Jesus becomes apparent to the Woman, is
resumed, and leads to a beautifully constructed chorus in six parts
("Therefore they shall come and sing"), followed by an impressive and
deeply devotional quartet for the principals, unaccompanied ("God is a
Spirit"),--to which an additional interest is lent from the fact that it
was sung in Westminster Abbey upon the occasion of the composer's
funeral. A few bars of recitative lead to a chorus in close, solid
harmony ("Who is the Image of the Invisible God"), with organ
accompaniment only, which in turn, after a few more bars of recitative
for contralto and soprano, is followed by the chorus ("Come, O Israel"),
sung pianissimo and accompanied by entire orchestra. The next number, as
the oratorio is now performed, is one which has been introduced. It is a
soprano aria, "I will love Thee, O Lord," which was found among the
composer's manuscripts after his death. The preface to the revised
edition of the oratorio has the following reference to this number:--

"In justification of so bold a step as the introduction of a new
number, it is interesting to point out that the composer felt the Woman