a _Gloria_ which
the latter showed him, "_S'ist ja alles nix_," and immediately sing
the music to "_Hol's der Geier, das geht flink!_" which words, he
said, went better. The liberty begotten by this license, though it
tended to ruin the mass, considered strictly as a liturgical service,
developed it musically. The masses for the dead were among the
earliest to feel the spirit of the time, for in the sequence, _Dies
irae_, they contained the dramatic element which the solemn mass
lacked. The _Kyrie_, _Credo_, _Gloria_, _Sanctus_, and _Agnus Dei_ are
purely lyrical, and though the evolutionary movement ended in
Beethoven conceiving certain portions (notably the _Agnus Dei_) in a
dramatic sense, it was but natural that so far as tradition fixed the
disposition and formal style of the various parts, it should not be
disturbed. At an early date the composers began to put forth their
powers of description in the _Dies irae_, however, and there is extant
in a French mass an amusing example of the length to which
tone-painting in this music was carried by them. Gossec wrote a
Requiem on the death of Mirabeau which became famous. The words,
_Quantus tremor est futurus_, he set so that on each syllable there
were repetitions, _staccato_, of a single tone, thus:

[Music illustration: Quan-tus tre---mor, tre-- etc.]

This absurd stuttering Gossec designed to picture the terror inspired
by the coming of the Judge at the last trumpet.

[Sidenote: _The orchestra in the Mass._]

[Sidenote: _Beethoven and Berlioz._]

The development of instrumentation placed a factor in the hands of
these writers which they were not slow to utilize, especially in
writing music for the _Dies irae_, and how effectively Mozart used the
orchestra in his Requiem it is not necessary to state. It is a safe
assumption that Beethoven's Mass in D was largely instrumental in
inspiring Berlioz to set the Requiem as he did. With Beethoven the
dramatic idea is the controlling one, and so it is with Berlioz.
Beethoven, while showing a reverence for the formulas of the Church,
and respecting the tradition which gave the _Kyrie_ a triple division
and made fugue movements out of the phrases "_Cum sancto spiritu in
gloria Dei patris--Amen_," "_Et vitam venturi_," and "_Osanna in
excelsis_," nevertheless gave his composition a scope which placed it
beyond the apparatus of the Church, and filled it with a spirit that
spurns the limitations of any creed of less breadt