tet joining in the middle
part with chorus. The second number is a very expressive recitative and
aria for tenor ("Happy Nation, still receiving"). The third is
characterized by quiet beauty, and is very devotional in spirit. It
begins with a soprano recitative and aria ("Yet not alone of Labor comes
our Plenty"), leading up to a second recitative and aria ("The gracious
Father hears us when we call"), which are very vivacious in style,
closing with a tenor recitative ("The Air is mild and clear and grateful
to the Reapers"). These prepare the way for a short but very powerful
chorus ("Woe! see the Storm-Clouds"). In the next number ("How fearful
are the Terrors Nature brings") the bass voice moralizes on the powers of
Nature, followed by a plaintive strain for two sopranos, which leads up
to a majestic prayer for chorus ("Lord Almighty, full of Mercy"). A bass
recitative ("Lo, once our Prayer") introduces a beautiful quartet and
chorus of thanksgiving ("Wreathe into Garlands the Gold of the Harvest").
They are followed by a tenor recitative and soprano solo ("Soon noble
Fruit by Toil was won"), and the work comes to a close with a stately
chorus of praise ("Father, reigning in Thy Glory").

Kampf und Sieg.

In June, 1815, Weber arrived in Munich and during his stay made the
acquaintance of Fraulein Wohlbrueck, the singer, which led to an
introduction to her father, who was both an actor and a poet. On the very
day that he met Wohlbrueck, the news came to Munich of the victory of the
Allies at Waterloo, the whole city was decorated and illuminated, and a
great crowd, Weber with them, went to St. Michael's Church to listen to a
Te Deum. While there the idea of a grand cantata in commemoration of the
victory came into his mind. On his return home he met Wohlbrueck and
communicated his purpose to him. The enthusiastic poet agreed to furnish
the words. About the first of August the text was placed in Weber's
hands, and he at once set it to music. It was first produced on the 22d
of December at Prague, and made a profound impression by its stirring
military character and vivid battle-descriptions.

The cantata is written for the four solo voices, chorus of sopranos,
altos, two tenors, and basses and orchestra. A stirring orchestral
introduction leads up to a people's chorus which describes the
disappearance of dissensions heralding the approach of victory. No. 3 is
a bass solo entitled "Faith