minutes. In his earlier works Liszt had often used the idea of musical motifs and themes undergoing transformations and modifications in order to achieve greater coherence and inter-connection: in this respect 'Christus' is no exception. Also, many motifs from Gregorian chants have been recognised, which greatly add to the unity of the work. The most obvious motif underpinning the entire oratorio is that of the simple perfect fifth interval, heard as the opening of the plainchant for Advent of the Rorate coeli at the very beginning of the oratorio, occurring in the majority of movements in some way, sometimes as a melodic gesture, sometimes with harmonic implications, and ending up as the main subject for the great fugue which closes the whole oratorio. Part One: Christmas Oratorio I. Motivum - Introduction II. Pastorale and Annunciation III. Stabat Mater speciosa ('Stood the beautiful Mother') IV. Song of the Shepherds at the Manger V. The Three Kings The narrator (see above) brings the 'motivum' of the work at the very opening, speaking in Latin, and then follows the introduction by the orchestra, once more punctuated by the voice of the narrator, bringing the words from Isaiah, 45:8. The introduction is largely of light, pastoral atmosphere, and its duration is around 18 minutes. It is a kind of free polyphonic fantasy on the plainchant for Advent 'Rorate coeli', building from a quiet start seamlessly to a climax. In the 'Pastorale and Annunciation', we hear the soprano and tenor soloists and the choir for the first time. Supported and coloured by the orchestra, they sing of the angels coming among some shepherds, heralding the birth of Jesus Christ (Luke, 2:10-14). The Angelus music is based upon the perfect-fifth derived from the 'Rorate coeli'. 'Stabat Mater speciosa' is a long, nearly a capella movement for chorus and some organ passages. The Latin hymn which is sung is a 'sister-hymn' to 'Stabat Mater dolorosa', and is to be sung to a rather similar melody, yet is in brighter, calmer mood and the words are different, describing Mary watching little Jesus in his cradle and at play. In the 'Song of the Shepherds at the Manger', the pastoral atmosphere reaches its climax in gentle and merry melodies of the oboes, clarinets and bassoons, again based on the perfect-fifth interval. The music constantly builds up and by the end of the movement reaches its joyous and dance-like peak.