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That two such choruses as "Lift up your heads " and the “Hallelujah" should be placed not far from each other in one and the same part without prejudice to either, is in itself a marvel; but the greater marvel is, that after the "Hallelujah" Handel should be able to recover himself and carry his audience through a third part. Mendelssohn has done something similar in the Elijah, after the great choruses "Thanks be to God" and "Be not afraid," and the scene of the fiery chariot, with which an inferior man would certainly have culminated. He has shown that he could refresh and recreate the heart with less tremendous but not less elevating emotions until his hearers are fairly restored to their self-possession, and finally left in a calm and almost severely meditative frame of mind by the last chorus.

The third part of the Messiah is purely theological, yet the interest does not flag. When the history of the first two parts has been told, there is left to the world a body of Christian truth than which nothing can be more consolatory and sublime. "I know that my Redeemer liveth" belongs to a type of melody that is never likely to grow old nor pass away. The two doctrinal quartets, "Since by man came death," and "As in Adam all die," have never been surpassed; whilst in sweetness and solemn force "The trumpet shall sound" will probably retain its popularity as long as there is a silver-toned trumpet in existence.

The oratorio closes with two choruses, of which

the first, "Worthy is the Lamb," is by far the most The last is the measured and severe "Amen "

florid. chorus.

It is a fitting and dignified close to so exciting, and at the same time majestic, a work. All emotion has now been spent, and the mind, like the still heaving waves of the sea after a storm, is left to rock itself slowly into deep and perfect peace. Thus the oratorio opens with the hope of "comfort," and ends with the full calm joy of attainment. One feeling now fills the Christian disciple through and through, and one word only is found sufficient to express it-it is the glorious “Amen” of the final chorus.

On his return from Ireland in 1742, Handel immediately prepared a new oratorio - Samson-for the following Lent season; and this, together with the Messiah, then heard for the first time in London, was intended to form the staple of twelve performances. Whether many people went to hear them or not is doubtful; the papers have not a word of comment on that season. It is to be feared that the fashionable world in London had made up its mind not to care for Mr. Handel. One Lady Brown, a lady of fashion, gave large tea-parties whenever his music was advertised; there were regular sets made up at Lady Godolphin's to play cards on those nights; one Mr. Russell, a comic man, was hired to sing at the great houses; a few went to hear a new Italian opera, the Caduta di Giganti, by a young man just arrived from

abroad named Gluck; and Horace Walpole had the impudence to say of Handel (who had excellent singers), that "he had hired all the goddesses from farces, and singers of roast-beef, from between the acts of both theatres, with a man with one note in his voice, and a girl with never a one, and so they sang, and made brave Hallelujahs!"

In 1745, poor Handel, deserted by the paying world, struggled through fifteen performances of his finest oratorios, but the effort cost him dear. He was unable to discharge his debts, and for the second time in his life was forced to suspend payment as a complete bankrupt. Luckily his health did not give way, and with indomitable energy he sat down to compose the first two acts of the Occasional Oratorio, the third act of which, though containing many new pieces, is of the nature of a pasticcio. Henceforth he determined to enter into no engagement with subscribers for so many performances per season, but to give concerts when he chose, and to throw himself rather upon the general public, who, as it had no share in the luxuries and follies of the nobles, felt little enough sympathy with their musical tastes and prejudices. Although constantly persecuted by a frivolous and effeminate clique, Handel never appealed in vain to the people at large. In a short time he had discharged his unfulfilled obligations to subscribers, by issuing free tickets for some Lent performances, and had also laid

In allusior to the "Roast Beef of Old Englan," a popular song of the period.

by sufficient to pay off most of his debts. This was in 1746.

In the following year, the third of his great masterpieces, the Judas Maccabæus, appeared. It was composed in thirty days, between the 9th of July and the 11th of August, and was produced at Covent Garden on the 1st of April, 1747.

Justice is usually discovered to be on the winning side, and after the victory of Culloden, Prince William, Duke of Cumberland, not too popular in some quarters, had to be greeted as the Judas Maccabæus of the age. The application was not obvious, but it served Handel's turn. The first part opens with the celebrated chorus, "Mourn, ye afflicted;" but grief for the departed hero who had roused the Jews to resist the oppression of Antiochus Epiphanes soon vanished before the fair promise of his noble son Judas. The "pious orgies" for the father over, "Arm, arm, ye brave!" is the war-cry of the son, and the rest of the part is occupied with appropriate meditations on, and preparations for, the war, until at length they go to battle with the chorus, "Hear us, O Lord." The second part celebrates the victories of Judas Maccabæus, and contains one of the best known of Handel's songs, "Sound an alarm!" It concludes with one of the freest and most original of his choruses, "We never will bow down." The last part celebrates the return of Judas after re-establishing the liberties of his country, and winds up with the

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national thanksgiving. "O Lovely Peace" is one of the freshest soprano duets ever written, and "See the Conquering Hero comes," which originally belonged to Joshua, is perhaps the most widely popular of all Handel's compositions.

The Messiah excepted, no oratorio is more often performed in England than Judas Maccabæus. In many respects it is not so difficult to get through passably, and is consequently a great favourite with amateur choirs; although not too long, it readily admits of being shortened, and in provincial towns is seldom heard in its entirety. It contains much repetition of sentiment, and yet little that we can afford to lose it is one of the very finest works of his most mature period. The Morning Herald of the 19th of February, 1852, indulged in the following sapient criticisms, which we cannot do better than quote:- "The airs of Judas Maccabæus, like those of many other works of Handel, are occasionally feeble and insipid; but two or three of them are exactly the reverse, and in the hands of singers of ability become both important and interesting." O patria! O mores!

In 1747 appeared Joshua. The graceful air, "Hark, 'tis the linnet," still never fails to please. Haydn observed of the chorus, "The nations tremble," that only one inspired author ever did, or ever would, pen so sublime a composition. The amount of recitative makes the oratorio heavy as a whole. In 1748, Handel being then in his sixty-fourth year, wrote the oratorio

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