The choruses, although occupying more space in the composition, do not materially differ from those of the opera. The concluding chorus of the first part (8) is like a study for a recitative, turned into a chorus by means of the accompaniment, which consists of two alternate strongly marked subjects. The elaboration is not contrapuntal, but
harmonic, and a simple but rich modulation gives significance to the movement. The voices give the full harmony, and a moderate amount of agitation in the melody and rhythm appears when the declamation demands it. The favourable pitch, the interesting modulation, the characteristic accompaniments, and the dignified seriousness which runs through the whole, all combine to make this chorus effective and excellent of its kind.
The two other choruses are prayers connected with solos. The first (4) is very simple. Ozia sings a melodious, beautifully conceived cantilene, full of feeling, which is accompanied by the violins pizzicato, and the chorus ends with a repetition of the two last lines. The second verse, with a change of composition, preserves the same character; after which the first is repeated, and leads with effective climax to a full close.
The last chorus is more grandly conceived. Judith answers the thanksgiving of the chorus in two strophes descriptive of the victory, and then the chorus falls in again; this is repeated three times, and a moral reflection follows as a closing chorus. Mozart has chosen an ancient church melody for the refrain of the chorus:--[See Page Image]
The melody is four-part, the partially varied harmony dignified and powerful, and interesting in its simplicity; the voices are well treated and animated. At the fourth
repetition Mozart has assigned the Cantus firmus, somewhat altered in the second part, to the tenor voice:--[See Page Image]
Thence he passes to the closing chorus. The solo part of Judith, simple, dignified, and earnest, resembles a regular song; but the declamatory is more prominent than the melodious element. Although somewhat overpowered by the chorus, the character of Judith is here most significantly expressed. Whenever Mozart allows himself free play, he exhibits originality, truth, and earnestness.