It has had, I believe, about fourteen representations in all.

As for the other three works, "Der Thurmbau zu Babel" (first performance in Konigsberg in 1870), "Das verlorene Paradies" (Dusseldorf, 1875), and "Moses" (still awaiting theatrical representation, I believe), it may be said of them that they are hybrid creations which combine the oratorio and opera styles by utilizing the powers of the oldtime oratorio chorus and the modern orchestra, with the descriptive capacity of both raised to the highest power, to illustrate an action which is beyond the capabilities of the ordinary stage machinery.

In the character of the forms employed in the works there is no startling innovation; we meet the same alternation of chorus, recitative, aria, and ensemble that we have known since the oratorio style was perfected.

A change, howeer, has come over the spirit of the expression and the forms have all relaxed some of their rigidity.

In the oratorios of Handel and Haydn there are instances not a few of musical delineation in the instrumental as well as the vocal parts; but nothing in them can be thought of, so far at least as the ambition of the design extends, as a companion piece to the scene in the opera which pictures the destruction of the tower of Babel.