the less of his individualism does each retain. An oratorio chorus, however marked its character, can still express only feelings of a strong and simple nature. Joy and sorrow! So far as the meaning of a piece of music can be interpreted, these two words paraphrase the utterances of Handel's choruses. Both are to be understood in their fullest significance; joy, from the bright, childish enjoyment of life, to the tumultuous bursts of exultation after victory won, from pious adoration to enthusiastic soaring up to God; sorrow, both as quiet sadness and deep, intensest mourning. But it is always one of these two emotions, which resounds full and clear. Mixtures of the two, such as often occur with Bach, are almost never found in Handel's music. In the last century, the opinion became fully established that Handel was pre-eminently great in choral music, and, as there was a sudden revolution of taste at this time in the line of solo-song, his arias and glorious recitatives were thrown into the shade. But the only way in which it is possible to be just to the composer, is to acknowledge the latter as well as the former, to be necessary for the completeness of the _ensemble_, and dependent upon each other for their effect. Since the greater number of Handel's oratorios are biblical in subject, and since from the beginning a certain edificatory purpose was associated with this order of work, a strong desire prevailed in Germany to class them as church music. But to do this is to thrust them out of the free and elevated position which they rightfully hold. In them the distinction between the worldly and the ecclesiastical is done away with, nor could they with propriety be designated as religious in character, for, besides his biblical material, Handel has also employed for his compositions profane history (Alexander Balus), ancient mythology (Heracles, Semele, Acis and Galatea), legendary subjects (Theodora), and pure description (Alexander's Feast; Allegro and Pensieroso). A noble humanity was the ideal of his art, and this he has completely realized in his oratorios. The "Messiah" itself is no exception, but rather crowns them all in this respect. [Illustration: COMMEMORATION OF HANDEL IN WESTMINSTER ABBEY. Reproduced from an engraving published at the time. Drawn by E. F. Burney and engraved by J. Spilsbury. The plate bears this inscription: View of the Gallery prepared for the reception of their Majesties, the Royal Family, Directors, and principal Personages in the Kingdom, at the Commemoration of Handel in Westminster Abbey. ]