parts or antiphonally. The semichorus is used for music of a lighter texture; usually in performance they are composed of a few members of the main chorus; however, Elgar himself preferred to have the semi-chorus placed near the front of the stage. The required instrumentation comprises two flutes (II doubling piccolo), two oboes and cor anglais, two clarinets in B and A and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani plus three percussion parts, harp, organ, and strings. Elgar called for an additional harp if possible, plus three additional trumpets (and any available percussionists) to reinforce the climax in Part II, just before Gerontius's vision of God. Form Each of the two parts is divided into distinct sections, but differs from the traditional oratorio in that the music continues without significant breaks. Elgar did not call the work an oratorio, and disapproved when other people used the term for it. Part I is approximately 35 minutes long and Part II is approximately 60 minutes. Part I: Prelude Jesu, Maria – I am near to death Rouse thee, my fainting soul Sanctus fortis, sanctus Deus Proficiscere, anima Christiana Part II: I went to sleep It is a member of that family But hark! upon my sense comes a fierce hubbub I see not those false spirits But hark! a grand mysterious harmony Thy judgment now is near I go before my judge Softly and gently, dearly-ransomed soul Part I The work begins with an orchestral prelude, which presents the most important motifs. In a detailed analysis, Elgar's friend and editor August Jaeger identified and named these themes, in line with their functions in the work. Gerontius sings a prayer, knowing that life is leaving him and giving voice to his fear, and asks for his friends to pray with him. For much of the soloist's music, Elgar writes in a style that switches between exactly notated, fully accompanied recitative, and arioso phrases, lightly accompanied. The chorus adds devotional texts in four-part fugal writing. Gerontius's next utterance is a full-blown aria Sanctus fortis, a long credo that eventually returns to expressions of pain and fear. Again, in a mixture of conventional chorus and recitative, the friends intercede for him. Gerontius, at peace, submits, and the priest recites the blessing "Go forth upon thy journey, Christian soul!" (a translation of the litany Ordo Commendationis Animae). This