Rcely tell the difference between them. One is performed on the Thursday and the other on Good Friday. The voices are certainly very surprising; there is no instrument to support them, but they have the art of continuing their notes so long and equally that the effect is as if an organ were playing, or rather an organ of violin strings, for the notes are clearer, more subtle and piercing, and more impassioned (so to say) than those of an organ. The music itself is doubtless very fine, as everyone says, but I found myself unable to understand all parts of it. Here and there it was extremely fine, but it is impossible to understand such a composition on once or twice hearing. In its style it is more like Corelli's music than any other I know (though very different too). And this is not wonderful, as Corelli was Master of the Pope's Chapel, and so educated in the school of Allegri, Palestrina, and the rest. These are the only services we have been to during the week."[33] [Footnote 33: Mozley, _Corr._ i. 380. We do not think that Corelli ever was Papal choirmaster. For some years, however, he led the orchestra of the Roman Opera, and was a great friend of Cardinal Ottoboni. How different the _Tenebrae_ music at St. Peter's can be from that at the Sixtine chapel, is seen by the three _Misereres_ at the former being by Basili, Guglielmi, and Zingarelli, all composers of light opera.] For good operatic music Cardinal Newman had, we believe, more of a liking than for the more modern oratorio. Rossini, as a religious composer, w
