musical idea "the trumpet shall sound". The image, first found in Exodus 19, pictures a courtly herald who blew the trumpet as a signal that the king was about to enter the throne room, a signal to stand in his honour. The passage from 1 Corinthians 15 was also chosen by Johannes Brahms for Ein deutsches Requiem, but in the German translation of the Bible the instrument is a trombone. 47 Behold, I tell you a mystery "Behold, I tell you a mystery" is rendered as a bass accompagnato in D major. Towards the end, motifs like trumpet signals appear in the strings even before the last words "at the last trumpet". 48 The trumpet shall sound The Air for bass "The trumpet shall sound", marked "Pomposo, ma non allegro", is a da capo aria. In the work's only instrumental solo, the trumpet provides motifs which the bass picks up. In "and we shall be changed", the word "changed" is treated in inventive ever-changing melismas of up to six measures. In the middle section, the word "immortality" is expressed in a lively melisma of first eight, then nine measures. Scene 3 Scene 3 first continues the text of Scene 2 (), presented in recitative, duet and chorus, and ends with an Air on Paul's Assurance of salvation, as written in the Epistle to the Romans, . 49 Then shall be brought to pass An alto recitative delivers "Then shall be brought to pass", ending on "death is swallow'd up in victory". 50 O death, where is thy sting? "O death, where is thy sting?" is sung as a duet in E flat major of alto and tenor on a walking bass of the continuo, without strings. The movement is based on the duet for soprano and alto "Se tu non lasci amore" (HWV 193, 1722). Such a movement would remind the London listeners of love duets concluding operas, such as the final scene of "Giulio Cesare." 51 But thanks be to God The chorus answers in the same key and tempo "But thanks be to God". 52 If God be for us, who can be against us The scene closes with the assurance "If God be for us, who can be against us". As a contrast to the following choral conclusion of the oratorio, it is sung by the soprano. Towards the end, Handel quotes the characteristic intervals beginning Martin