reallocated to the soprano. It became customary to include it even in performances and editions with piano(s). Thomas Aquinas's hymn "O salutaris hostia" has been used in mass settings close to the Agnus Dei from the Renaissance. It was set to music in the 18th century by Guillaume-Gabriel Nivers, Henry Madin, and Jean-Paul-Égide Martini, and by Franz Liszt in the 19th century. Rossini uses the first four lines (out of eight). The melodic line of the soprano soloist begins with an upward broken seventh chord. This movement in 3/4, with tempo Andantino sostenuto ( = 88), is structured as: an introduction for piano of twenty measures an A–B–A section (measures 21 to 91) a reprise of the introduction, shared between the piano and the soloist (measures 92 to 103) an A'–B'–A' section (measures 104 to 154) a finale with piano in a noble style, as similarly throughout the work The theme and its broken seventh chord (G-B-D-F) which characterize this movement is stated first as a major seventh in the two first passages of the first section A with a discreet accompaniment. To finish this section, the theme arpeggiates a dominant seventh. In the second A section, the theme first repeats the major seventh before developing into a minor seventh with a minor third in the second passage (G-B-D-F). The melodic line of part B is contrasting in both its static character and the vehemence of the piano accompaniment, and by the double forte dynamics, as much by the double forte dynamics which give a brutal character, as by the use of sequences (E major to begin with, then B major, G major, E major, etc.). This section ends with a chromatic descent in the accompaniment at quadruple piano dynamic, up to a dominant seventh of G major, to prepare the return of the second section A in the original key. A reprise of the first measures of the introduction uses only the text "Bella premunt" ("The armies pursue us"). While the piano repeats the introduction identically, the soprano doubles it several times for one or two measures interspersed with silences. The rest (section A') is largely in the form of sequences. Section B' uses the most static part of theme B in another sequence. The return to the key of section A', repeated identically, operates on an enharmonic equivalence (G→F) as elsewhere in the work. Agnus Dei The final