The Standard Oratorios Part 11

Peter' as well as a 'St. Paul.'"

Another extract from the same letter will show the keenness with which he a.n.a.lyzed his themes. He writes:--

"I need not tell you that there are sufficient internal grounds to make me prize the subject; and far above all else stands the outpouring of the Holy Ghost, which must form the central point or chief object. The question, therefore, is whether the place that Peter a.s.sumes in the Bible, divested of the dignity which he enjoys in the Catholic or Protestant Churches as a martyr, or the first Pope, etc.,--whether what is said of him in the Bible is alone and in itself sufficiently important to form the basis of a symbolical oratorio. For, according to my feeling, the subject must not be treated historically, however indispensable this was in the case of 'St. Paul.' In historic handling, Christ must appear in the earlier part of St. Peter's career; and where he appears, St. Peter could not lay claim to the chief interest. I think, therefore, it must be symbolical; though all the historical points might probably be introduced,--the betrayal and repentance, the keys of Heaven given him by Christ, his preaching at Pentecost,--not in an historical, but prophetic light, if I may so express myself, in close connection."

The project was never carried out; but the deep earnestness with which Mendelssohn considered it shows how thoughtfully he must have devoted himself to the scheme which took its place. Neither his letters nor his biographers throw much light upon the history of "Christus." Lampadius says: "The oratorio was laid out upon a grand scale. It was to be in three parts,--the career on earth, the descent into h.e.l.l, the ascent to heaven." This plan must have been subsequently changed, for the fragments of the oratorio are included in two parts, though they entirely pertain to the earthly career. There are in all eight complete numbers,--three from the first part, and five from the second. The first part opens with a soprano recitative ("When Jesus our Lord was born in Bethlehem"), leading to a strong trio for tenor and two ba.s.ses ("Say, where is he born?"), the question of the Wise Men from the East. The chorus replies, "Then shall a Star from Jacob come forth," closing with the old German chorale, "Wie schon leuchtet der Morgenstern" ("How brightly shines the Morning Star!"), in plain, flowing harmony.

The fragments of the second part are in the form of the pa.s.sion-music, and include five tenor recitatives, narrating the dialogue between Pilate, the Elders and the People, and his final order, "Take ye him and crucify him, for I cannot find a fault in him," and several short, angry choruses of the Jews, accusing Jesus and calling for his death, leading to a beautiful chorus for mixed voices ("Daughters of Zion, weep"), and closing with an effective chorale for male voices in the genuine Bach style:--

"He leaves his heavenly portals, Endures the grief of mortals, To raise our fallen race.

O love beyond expressing!

He gains for us a blessing, He saves us by redeeming grace.

"When thou, O sun, art shrouded, By night or tempest clouded, Thy rays no longer dart; Though earth be dark and dreary, If, Jesus, thou art near me, 'Tis cloudless day within my heart."

MOZART.

Johann Chrysostomus Wolfgang Amadeus Mozart, one of the most remarkable musical geniuses the world has produced, and the only one of his contemporaries whose operas still hold the stage with unimpaired freshness, was born at Salzburg, Jan. 27, 1756. He was the son of Leopold Mozart, the Salzburgian Vice-Capellmeister, who gave him and his sister Nannerl their earliest instructions in music, and with such good results that the children travelled and gave concerts with great success. Before he was seven years of age, he had composed several pieces for piano and violin, his earliest having been written at the age of five! At twelve he became court capellmeister in Salzburg. After his musical travels he went to Vienna, and there began his real period of cla.s.sic activity, which commenced with "Idomeneus," reached its culmination in "Don Giovanni,"

and closed with the "Requiem,"--the "swan-song" of his wonderful life. In his brief life Mozart composed more than fifty great works, besides hundreds of minor ones in every possible form of musical writing. His greatest compositions may be cla.s.sed in the following order: "Idomeneus"

(1780); "Entfuhrung aus dem Serail" (1781); "Figaro's Hochzeit" ("The Marriage of Figaro"), (1785); "Don Giovanni" (1787); "Cosi fan tutti,"

"Zauberflote" ("The Magic Flute"), and "t.i.tus" (1790); and the "Requiem"

(1791, the year of his death). The catalogue of Mozart's works is an immense one, for his period of productivity was unusually long. From the age of five to his death, there was not a year that was not crowded with his music. Besides his numerous operas, of which only the more famous are given above, he wrote a large number of symphonies (of which the "Jupiter" is now the best known), sonatas, concertos for all kinds of instruments, even to musical-gla.s.ses, trios, quartets, quintets, and s.e.xtets for all possible combinations of instruments, marches, fugues, ma.s.ses, hymns, arias of extraordinary brilliancy,--many of them written for his sister-in-law, Aloysia Weber, to whom at one time he was engaged,--liturgies, cantatas, songs, and ballads, and indeed every form of music that is now known. His style was studied by Beethoven, and so closely imitated that the music of his first period, if published without autograph, would readily be attributed to Mozart. His style was so spontaneous and so characteristic that it has been well said there is but one Mozart. The distinguishing trait of his music is its rich melodic beauty and its almost ravishing sweetness. His melody pours along in a bright, unbroken stream that sometimes even overflows its banks, so abundant is it. It is peculiarly the music of youth and spring-time, exquisite in form, graceful in technique, and delightful in expression.

It was the source where all his immediate successors went for their inspiration, though it lacked the maturity, majesty, and emotional depths which were reached by such a t.i.tan as Beethoven. Old as it is, and antiquated in form, especially as compared with the work of the new schools, its perennial freshness, grace, and beauty have made it immortal.

The Requiem.

Mozart's "Requiem" was written in Vienna in 1791 and was left in an unfinished state by the composer, who made suggestions and gave instructions as to its completion even upon his death-bed; it was literally his swan-song. No work by any composer has given rise to more romantic stories or more bitter discussion. It was long the popular belief that the "Requiem" was commissioned by a dark, mysterious stranger, whose appearance impressed Mozart with the conviction that he was a messenger of death; more than this, that he himself had been poisoned, and that he was writing his own death-song, upon the order of some supernatural power. There was some foundation for the belief, as the commission was given in a very mysterious manner, and Mozart's health at that time was so delicate that he had had several premonitions of death.

In his gloomy spirits he even said to his wife that he was writing his own requiem. The actual circ.u.mstances attending the commission, though they do not bear out the romantic versions of the story-tellers, are yet of extraordinary interest.

The author of the commission was one Count von Walsegg, living in the village of Stuppach, whose wife had died early in 1791. He was an amateur musician of vast ambitions and small accomplishments, and had conceived the idea of purchasing a requiem anonymously from Mozart and pa.s.sing it off as his own work. In pursuance of his scheme he despatched his steward, named Leutgeb, a tall, solemn, mysterious looking person, with an anonymous letter to Mozart, who at that time was in absolute poverty, asking for the music and requesting him to name his own price,--stipulating, however, that he should make no effort to discover the ident.i.ty of his patron. The unsuspicious Mozart accepted the proposition, after consulting with his wife. He was about to begin work upon it at once, when he received a commission to write the opera of "Clemenza de t.i.to," in honor of the Emperor Leopold's coronation. This occupied him several weeks, and when it was completed he decided upon a visit to Baden. At the moment he was about to get into the carriage, the mysterious stranger again appeared and inquired about the progress of the "Requiem." Mozart excused himself, and replied that as soon as he returned he would begin the work; and the stranger went away satisfied.

Mozart came back to Vienna in September; and after the completion of the "Magic Flute," and its first performance, Nov. 30, 1791, he devoted himself a.s.siduously to the "Requiem," though it served only to increase his gloom. One day he remarked to his wife: "I well know that I am writing this requiem for myself. My own feelings tell me that I shall not last long. No doubt some one has given me poison; I cannot get rid of the thought." It is now known that this suspicion was only the result of his morbid thoughts; but when it was publicly uttered, most unjust accusations were made against his rival, Salieri, embittering the old composer's life until its close. As the work progressed, his gloom increased. "The day before his death," Nohl says, "he desired the score to be brought to him in bed, and he sang his part, taking the alto voice.

Benedict Shack took the soprano, his brother-in-law, Hofer, the tenor, and Gerl the ba.s.s. They had got through the various parts to the first bars of the 'Lacrymosa,' when Mozart suddenly burst into tears and laid aside the score." His sister-in-law has left an account of his last moments. She writes:

"As I approached his bed, he called to me: 'It is well you are here; you must stay to-night and see me die.' I tried as far as I was able to banish this impression; but he replied: 'The taste of death is already on my tongue, I taste death; and who will be near to support my Constance if you go away?' Sussmayer [his favorite pupil] was standing by the bedside, and on the counterpane lay the 'Requiem,' concerning which Mozart was still speaking and giving directions. He now called his wife and made her promise to keep his death secret for a time from every one but Albrechtsberger, that he might thus have an advantage over other candidates for the vacant office of capellmeister to St.

Stephen's. His desire in this respect was gratified, for Albrechtsberger received the appointment. As he looked over the pages of the 'Requiem' for the last time, he said, with tears in his eyes: 'Did I not tell you I was writing this for myself?'"

Mozart's widow, after his death, fearing that she might have to refund the money advanced for the work, induced Sussmayer, who was thoroughly familiar with Mozart's ideas, to complete it. He did so, and the copy was delivered to Count von Walsegg, who did not hesitate to publish it as his own. Sussmayer, however, had kept a copy, and after completion published it; and in a letter to the publishers set up a claim to the instrumentation of the "Requiem," "Kyrie," "Dies Irae," and "Domine," and to the whole of the "Sanctus," "Benedictus," and "Agnus Dei." The publication of Sussmayer's letter provoked a controversy which has raged from that day to this. The ablest critics and musicians in Europe have taken part in it. Nearly all of them have defended Mozart's authorship; but after half a century's discussion it still remains in doubt how far Sussmayer partic.i.p.ated in the completion of the work as it now stands.

The bulk of the evidence, however, favors the theory that Sussmayer only played the part of a skilful copyist, in writing out the figurings which Mozart had indicated, carrying out ideas which had been suggested to him, and writing parts from the sketches which the composer had made. One of the most pertinent suggestions made in the course of this controversy is that of Rockstro, who says:--

"Some pa.s.sages, though they may perhaps strengthen Sussmayer's claim to have filled in certain parts of the instrumentation, stand on a very different ground to those which concern the composition of whole movements. The 'Lacrymosa' is quite certainly one of the most beautiful movements in the whole 'Requiem'--and Mozart is credited with having only finished the first eight bars of it! Yet it is impossible to study this movement carefully without arriving at Professor Macfarren's conclusion that 'the whole was the work of one mind, which mind was Mozart's.' Sussmayer may have written it out, perhaps; but it must have been from the recollection of what Mozart had played or sung to him, for we know that this very movement occupied the dying composer's attention almost to the last moment of his life. In like manner Mozart may have left no _Urschriften_ (sketches) of the 'Sanctus,'

'Benedictus,' and 'Agnus Dei,'--though the fact that they have never been discovered does not prove that they never existed,--and yet he may have played and sung these movements often enough to have given Sussmayer a very clear idea of what he intended to write. We must either believe that he did this, or that Sussmayer was as great a genius as he; for not one of Mozart's acknowledged ma.s.ses will bear comparison with the 'Requiem,' either as a work of art or the expression of a devout religious feeling. In this respect it stands almost alone among instrumental ma.s.ses, which nearly always sacrifice religious feeling to technical display."

After an introduction, which gives out the subject of the opening movement,--a slow, mournful, solemn theme,--the first number begins with the impressive strain, "Requiem aeternam dona eis," which gradually brightens in the phrase, "Et Lux perpetua," and reaches a splendid burst of exultation in the "Te decet hymnus," of which Oublichieff, the Russian critic, says: "One seems to hear the voice of an archangel, and Saint Cecilia herself with her organ sounding a fugued accompaniment which the most laborious efforts of mortals never could have power to reach." After a repet.i.tion of the "Requiem aeternam," the number closes with the "Kyrie eleison," a slow and complicated fugue, which is sublime in its effect, though very sombre in color, as befits the subject.

The next number is the "Dies Irae," written for chorus in simple counterpoint, and very dramatic in its character, the orchestral part being constantly vigorous, impetuous, and agitated, and reaching intense energy on the verse, "Quantus tremor est futurus," the whole presenting a vivid picture in tones of the terrors of the last judgment. In the "Tuba mirum" the spirit of the music changes from the church form to the secular. It is written for solo voices, ending in a quartet. The ba.s.s begins with the "Tuba mirum," set to a portentous trombone accompaniment; then follow the tenor ("Mors stupebit"), the alto ("Judex ergo"), and the soprano ("Quid sum miser"). This number is particularly remarkable for the manner in which the music is shaded down from the almost supernatural character of the opening ba.s.s solo to the beauty and sweetness of the soprano solo. From this extraordinary group we pa.s.s to the sublime chorus, "Rex tremendae majestatis," once more in the church style, which closes with the prayer, "Salva me," in canonical form. With rare skill is this last appeal of humanity woven out of the thunder-crashes of sound in the judgment-music.

The "Dies Irae" is followed by the "Recordare," written, like the "Tuba mirum," as a quartet for solo voices. The vocal parts are in canon form and are combined with marvellous skill, relieved here and there with solos in purely melodic style, as in the "Quaerens me," while the orchestral part is an independent fugue, with several subjects worked up with every form of instrumental embellishment, the fugue itself sometimes relieved by plain accompaniment. The whole is an astonishing piece of contrapuntal skill, apparently inexhaustible in its scientific combinations, and yet never for an instant losing its deep religious significance. Once more the orchestral part is full of agitation and even savage energy in the "Confutatis maledictis," as it accompanies a powerful double chorus, closing at last in a majestic prayer ("Oro supplex et acclinis"), in which all the voices join in magnificent harmony.

The "Lacrymosa" is the most elegant and poetically conceived movement in the "Requiem." It begins in a delicate, graceful, and even sensuous manner, which gradually broadens and strengthens, and at last develops into a crescendo of immense power, reaching its climax on the words "Judicandus h.o.m.o reus." Then it changes to a plaintive prayer ("Huic ergo parce Deus"), and closes in a cloud of gloom in the "Dona eis requiem."

The next number ("Domine Jesu Christe") is in pure church form, beginning with a motet by chorus in solid harmony, which runs into a fugue on the words "Ne absorbeat eas Tartarus," followed by a quartet of voices regularly fugued, leading to another great fugue on the pa.s.sage, "Quam olim Abrahae," which closes the number in a burst of sacred inspiration.

The "Domine" is followed by the "Hostias," a lovely choral melody which leads to the "Sanctus," a sublime piece of harmony closing with a fugued "Hosanna." The "Benedictus," which follows it, is a solo quartet plaintive and solemn in character, but full of sweet and rich melodies magnificently accompanied.

The "Agnus Dei" closes the work, a composition of profound beauty, with an accompaniment of mournful majesty, developing into a solemn, almost funereal strain on the words "Dona eis requiem," and closing with the fugue of the opening "Kyrie" on the words "Lux aeterna." "Written under the inspiration of death" might well be inscribed on this great monument of musical skill, this matchless requiem of awful majesty and divine beauty. In its own unity, its perfection of form and design, its astonishing skill, from the opening fugue of the "Kyrie" to its repet.i.tion in the finale, may be found the proof that Mozart and no other wrote the entire score, and that every thought and idea in it are the inspired work of the dying master.

PAINE.

John K. Paine, one of the very few really eminent American composers, was born at Portland, Me., Jan. 9, 1839. He studied the piano, organ, and composition with Kotzschmar in that city, and made his first public appearance as an organist, June 25, 1857. During the following year he went to Germany and studied the organ, composition, and instrumentation with Haupt and other masters in Berlin. He returned to this country in 1861 and gave several concerts, in which he played many of the organ works of the best writers for the first time in the United States.

Shortly after his return he was appointed instructor of music in Harvard University, and in 1876 was honored with the elevation to a professorship and given a regular chair. He is best known as a composer, and several of his works have been paid the rare compliment of performance in Germany, among them his Ma.s.s in D and all his symphonies. The former was given at the Berlin Singakademie in 1867, under his own direction. Among his princ.i.p.al compositions are the oratorio "St. Peter;" the Ma.s.s in D; the Centennial Hymn, set to Whittier's poem and sung at the opening of the Philadelphia Centennial Exhibition; the overture to "As You Like It;"

"The Tempest," in the style of a symphonic poem; the symphony in C minor and "Spring" symphony; besides numerous sonatas, fantasies, preludes, songs, and arrangements for organ and piano. His larger orchestral works have been made familiar to American audiences by Mr. Theodore Thomas's band, and have invariably met with success. His style of composition is large, broad, and dignified, based upon the best cla.s.sic models, and evinces a high degree of musical scholarship.

St. Peter.

"St. Peter," Mr. Paine's only oratorio,--and from the highest standpoint it may be said the only oratorio yet produced in this country,--was written in 1872-73, and first performed at Portland, Me., in June of the latter year, under the composer's own direction. The solos were sung by Mrs. Wetherbee, Miss Adelaide Phillipps, Mr. George L. Osgood, and Mr.

Rudolphsen. It was again produced with great success at the third Triennial Festival of the Boston Handel and Haydn Society, May 9, 1874, with Mrs. J. Houston West, Mr. Nelson Varley, Miss Phillipps, and Mr.

Rudolphsen in the princ.i.p.al parts.

The establishment of Christianity, ill.u.s.trated by the four princ.i.p.al scenes in the life of St. Peter, forms the subject of the oratorio. It is divided into two parts, and these are subdivided as follows: Part I. The Divine Call; The Denial and Repentance. Part II. The Ascension; Pentecost. The overture, a short adagio movement expressive of the unsettled spiritual condition of the world prior to the advent of Christianity, leads directly to the opening chorus, "The Time is fulfilled," which develops not only this subject, but also a second, "Repent, and believe the glad Tidings of G.o.d," in a masterly manner. The chorus, written in a very n.o.ble style, is followed by the tenor recitative, which describes the divine call of our Lord to Simon and Andrew as "He walked by the Sea of Galilee." It prepares the way for a soprano aria ("The Spirit of the Lord is upon me") which announces the glad tidings they are commissioned to deliver. Twelve male voices, representing the Disciples, accept the call in the chorus, "We go before the Face of the Lord," which is beautifully accompanied by and interwoven with the full chorus, closing with the smoothly flowing chorale, "How lovely shines the Morning Star." Then ensues the first dramatic scene. To the question of the Saviour, "Who do men say that I am," the twelve male voices first reply, followed by Peter in a few bars of very effective recitative, "Thou art the Christ." A tenor arioso, declaring the foundation of the Church "upon this rock," is followed by a n.o.ble and exquisitely chaste ba.s.s aria for Peter ("My Heart is glad and my Spirit rejoiceth"), the scene ending with the powerful chorus, "The Church is built upon the Foundation of the Apostles and Prophets." The next scene, "The Denial and Repentance," opens with the warning to Peter that he will deny his Lord, and his remonstrance, "Though I should die with thee,"

which is repeated by the Apostles. These brief pa.s.sages are followed by a very pathetic aria for tenor ("Let not your Heart be troubled") and a beautifully worked-up quartet and chorus ("Sanctify us through Thy Truth"). A contralto solo announces the coming of "Judas with a great mult.i.tude," leading Jesus away to the High Priest, and is followed by the very expressive chorus, "We hid our Faces from him." The scene of the denial is very dramatic, the alternating accusations of the servants and the denials of Peter being treated with great skill; it closes with a very effective contralto recitative, ill.u.s.trating the sad words: "And while he yet spake, the c.o.c.k crew. And the Lord turned, and looked on Peter; and he remembered the word of the Lord, and he went out and wept bitterly." An orchestral interlude follows, in the nature of a lament, a minor adagio full of deep feeling. It is followed by an aria for Peter ("O G.o.d, my G.o.d, forsake me not"), which is cast in the same strain of lamentation as the orchestral number which precedes and really introduces it. At its close a chorus of Angels, sopranos, and altos, with harp accompaniment ("Remember, remember from whence thou art fallen"), is heard warning Peter, augmented on the introduction of the second subject ("And he that overcometh shall receive a Crown of Life") by the full chorus. This chorus is followed by a beautiful aria for alto ("The Lord is faithful and righteous to forgive our Sins"); and then a ma.s.sive chorus, which is fairly majestic ("Awake, thou that sleepest"), closes the first part.

The second part opens with a chorus ("The Son of Man was delivered into the Hands of sinful Men"), which tells the story of the crucifixion, not only with great power, but also with intense pathos, ending with the chorale, "Jesus my Redeemer lives," which invests the sad narrative with tender and consolatory feeling. The ascension scene is accompanied by graceful and expressive recitatives for tenor and ba.s.s, followed by a tenor arioso ("Go ye and teach") and a short soprano recitative ("And he lifted up his Hands"), leading to the full melodious chorus, "If ye then be risen." The next number is an impressive soprano solo ("O Man of G.o.d"), in which Peter is admonished "to put on the whole armor of G.o.d and fight the good fight." A beautifully written quartet ("Feed the Flock of G.o.d") closes the scene of the ascension. The last scene opens with a tenor solo describing the miracle of Pentecost, set to an extremely vigorous and descriptive accompaniment. It is followed by the chorus, "The Voice of the Lord," which is one of the most effective in the whole work, though not constructed in the ma.s.sive style of those which close the two parts. A contralto recitative links this chorus to its successor, "Behold! are not all these who speak Galileans?" After a brief soprano recitative, Peter has another vigorous solo ("Ye Men of Judaea"), which is as dramatic in its style and almost as descriptive in its accompaniment as the opening tenor solo of this scene. A reflective aria for alto ("As for Man") follows it, and ba.s.s and tenor recitatives lead up to the eagerly questioning chorus of the people, "Men and Brethren." The answer comes from Peter and the Apostles, "For the Promise is to you." An intricate chorus ("This is the Witness of G.o.d"), closing with a chorale ("Praise to the Father"), leads to the finale, which comprises the chorus, "Beloved, let us love one another," written for ba.s.s solo, tenors, and ba.s.ses (the Disciples), and full chorus; an effective duet for soprano and tenor ("Sing unto G.o.d"); and the final majestic chorus ("Great and marvellous are thy Works").

ROSSINI.

Gioachino Antonio Rossini, the father of the modern Italian school of opera, was born Feb. 29, 1792, at Pesaro, in the Romagna. His father was an accomplished musician, and his mother a professional singer, so that he was brought up in a musical atmosphere. Even as a boy he sang with his mother in the theatre. He first studied with Mattei, and later with Martini. His first opera, "Demetrio e Polibio," was brought out at Rome in 1812, and before he had concluded his life-work, more than forty of his operas had been given in almost every part of Europe,--a crowning result of labor and contemporaneous fame not often enjoyed by composers.

His "Tancredi," which was produced for the first time at Venice in 1813, was the opera which made him famous, and its remarkable success spread his reputation far and wide. In 1815 appeared "L' Italiana in Algeri" and "Aureliano in Palmira;" in 1816, "Elisabetta," "Otello," and his splendid work "The Barber of Seville," which, though his masterpiece, is said to have been written in fourteen days; in 1817, "La Cenerentola," "La Gazza Ladra," and "Armida;" and in 1819, "Ricciardo e Zorade," "La Donna del Lago," and many others. From 1815 to 1822 Rossini was under the "management" of the _impresario_ Barbaja in Naples, who had much difficulty in keeping him to the work of composition, his facility in writing often leading him to defer work until it was the very eve of performance. In 1823, under the auspices of Barbaja, and with the a.s.sistance of the prima donna, Colbran, whom Rossini married about this time, his opera "Zelmira" and others of his works were given with such brilliant success as to raise his aspirations for a wider and more promising field of labor. In the year 1823 he went to Paris and London, finally settling in the former city, where he not only began a new grand opera, but also gave himself to the study and development of orchestral music and the encouragement of artists. His home was the Mecca of singers, and, like Liszt's at Weimar, the centre of art influences. The new work was "William Tell," which was first brought out in Paris in 1829. It was his last important effort. It met with only temporary success, though it enjoys to-day a reputation almost equal to that of the "Barber." His most celebrated work in sacred music is the "Stabat Mater,"

which, though written in operatic style and very brilliant in coloring, has retained its place in popular favor, and is to-day as eagerly sought for by artists and the public as it was in his own day. Among his other sacred works is "Moses in Egypt,"--originally written as an oratorio for the San Carlo in Naples, and brought out there in 1818, though subsequently recast and provided with a revised libretto for the Paris Grand Opera in 1827. The "Prayer" from this work has a world-wide popularity. During the latter years of his life Rossini gave up composition entirely,--in part because of the eventual failure of his "William Tell,"--and enjoyed the fruits of his labors at his beautiful villa in Pa.s.sy. He died Nov. 14, 1868. His sacred works, besides those already mentioned, are a few Italian oratorios, now unknown, three choruses, "Faith, Hope, and Charity," the "Pet.i.te Messe Solenelle," a "Tantum Ergo," a "Quoniam," and an "O Salutaris."