Luther's chorale Aus tiefer Not schrei ich zu dir several times, leading into the final chorus. Scene 4 Scene 4 closes the work by visionary verses from the Book of Revelation, The creatures in heaven give praise (), affirmed by an extended Amen. 53 Worthy is the Lamb that was slain The chorus, with the full orchestra including trumpets and timpani, proclaims in a solemn Largo "Worthy is the Lamb that was slain", and continues Andante "to receive power – and riches, – and wisdom, – and strength, – and honour, – and glory, – and blessing". The sequence of Largo and Andante is repeated, but not exactly the same music. A fugue carries the words "Blessing and honour, glory and pow'r be unto him". The men's voices and the continuo begin in unison, the simple theme rises to a note which is repeated nine times and falls back, reminiscent of the repeated notes in "For the mouth of the Lord hath spoken it" and "King of Kings". Several countersubjects add life and texture, gradually more instruments take part in the development on "for ever – and ever". These words are rendered in short downward runs, but then also in the same rhythm as in the Hallelujah chorus, and finally broadened to Adagio. The "Amen" begins again simply in the bass and continuo. An intricate melody rises in four measures and one octave. Every other voice, tenor, alto, soprano, also sings the theme once. Rather unexpectedly, a solo violin plays the theme, first unsupported, then assisted by a continuo entrance of the theme, interrupted by a choral four-part setting with the theme in the bass. After two more instrumental measures, a four-part-setting develops to imitation and counterpoint of more and more independent voices, ending on a rest of a full measure. Finally, Amen is repeated two more times, Adagio. A contemporary critic, conditioned by John Brown who objected to operatic features in oratorios such as recitatives, long ritornellos, and ornamented vocal lines, commented on Handel's display of musical inventiveness and "contrapuntal skill": "The fugue too, on Amen, is entirely absurd, and without reason: at most, Amen is only a devout fiat, and ought never, therefore, to have been frittered, as it is, by endless divisions on A— and afterwards men." But Handel's first biographer, John Mainwaring, wrote in 1760 that this conclusion revealed the composer "rising still higher" than in