perimus!' ('Save us, Lord, for we will perish!'). Then, Jesus stops the storm and winds and the rest of the movement passes in great tranquillity. 'The Entry into Jerusalem' employs soloists, chorus and orchestra, celebrating the arrival of the son of David and King of Israel, and brings Part Two of 'Christus' to a glorious close amidst cries of 'Hosanna!'. Part Three: Passion and Resurrection XI. Tristis est anima mea ('Sad is my soul') XII. Stabat Mater dolorosa ('Stood the grievous Mother') XIII. O filii et filiae ('O sons and daughters') XIV. Resurrexit! ('He has risen!') The final part of the oratorio begins with a sombre and pain-filled movement 'Tristis est anima mea'. Here Jesus talks to his Father, meditates over all the horrors that await him, however 'sed non quod ego volo, sed quod tu'. The sparing use of the baritone soloist makes the words even more effective and meaningful. The orchestra once more plays the significant part. After this follows 'Stabat Mater dolorosa', an ancient Latin hymn, doleful and gloomy. This is the longest single movement of the entire work (approx. 30 mins.), and employs all the orchestra and vocal forces, but in a mood quite opposite to many usual oratorios where using all the vocals heralds glory and joy. The movement is in fact a long, painful lament of Mary's fate - to see the death of her son. Yet towards the end the music gathers strength, becomes at some places furious, passionate and victorious in tone. This, of course, anticipates Christ's resurrection, the victory of life over death. The short Easter hymn 'O filii et filiae' is a contrast to 'Stabat Mater', for it is very short (2 mins.), uses only the female chorus with just the harmonium, and is of much brighter, expectant mood. The words tell us of Mary Magdalene finding Christ's grave opened, and the chamber empty. The final movement of the oratorio is 'Resurrexit!', a joyous, jubilant chorus backed up by the entire orchestra, celebrating Christ's resurrection. It is, in fact, a parallel to Händel's famous 'Hallelujah!', and quite similar in overall mood. So Liszt's greatest oratorio closes, using the full vocal and orchestral forces, with proclamations that 'Christ is risen!'. The motivic rising fifth is used to symbolise the "rising of Christ" as a fugal subject, unadorned, and this is the main subject. The fifth is stated once, then repeated a