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 breadth and universality than the grand Theism which affectionate communion with nature had taught him.

[Sidenote:  Berlioz’s Requiem.]

[Sidenote:  Dramatic effects in Haydn’s masses.]

[Sidenote:  Berlioz’s orchestra.]

Berlioz, less religious, less reverential, but equally fired by the solemnity and majesty of the matter given into his hands, wrote a work in which he placed his highest conception of the awfulness of the Last Judgment and the emotions which are awakened by its contemplation.  In respect of the instrumentation he showed a far greater audacity than Beethoven displayed even in the much-mooted trumpets and drums of the Agnus Dei, where he introduces the sounds of war to heighten the intensity of the prayer for peace, “Dona nobis pacem.”  This is talked about in the books as a bold innovation.  It seems to