chorus of unexampled energy (‘He smote all the first-born of Egypt’) describes the swift vengeance of the Most High. The English critic Chorley calls it ‘a fiercely Jewish’ chorus, with ‘a touch of Judith, of Jael, of Deborah in it--no quarter, no delay, no mercy for the enemies of the Most High.’ The passage of the Red Sea follows these stormy descriptive choruses, and another dramatic but jubilant chorus (‘But the waters overwhelmed their enemies’) is succeeded by two short choruses of a devotional character which bring the first part to a close. The second part, ‘The Song of Moses,’ after a short orchestral introduction, is ushered in by a chorus (‘Moses and the children of Israel sang this song’), after which comes the sublime fugal chorus, a mighty song of praise to the Lord (‘For He hath triumphed gloriously’). In this part is also the famous declamatory duet for two basses, ‘The Lord is a Man of War,’ and the great tenor aria, ‘The enemy said "I will pursue."’ After the exultant song of Miriam, the prophetess, there comes a magnificent triumphal double chorus, splendidly supported by the orchestra--a piling up of voice upon voice, instrument upon instrument, in a pæan of exultation and triumph, which brings the work to a climactic close of tremendous dramatic effectiveness. ‘Judas Maccabæus.’--This oratorio was written at the request of the Prince of Wales for the celebration of the victory of Culloden (April 16th, 1746) and the work, written in thirty-two days (July 9th to August 11th, 1746), was performed on April first, 1747, the festal day celebrating the return of the victorious Duke of Cumberland. The text was prepared by the Reverend Thomas Morell, D.D., who selected the material concerning the events surrounding the Hebrew warrior from the First Book of Maccabees and from Josephus. The first performance at Covent Garden was so successful that the work was repeated six times that year. Handel himself conducted it thirty-eight times, and it gained steadily in popularity, which was further augmented by the enthusiasm of the Jews, who delighted in it because it extolled a proud event in their national history. The first part (the time is the second century B. C.) opens with the lament of the Israelitish men and women over the death of their leader Mattathias (father of Judas Maccabæus and his brother Simon), who had inspired the Jews to withstand the tyranny of Antiochus Epiphanes, king of Syria, in his effort to deprive them of their freedom and their religious worship. The first chorus, ‘Mourn, ye afflicted children,’ and, after a duet, the chorus ‘For Zion lamentation make,’ establish at once the sombre mood of the whole work. Simon’s militant, ringing aria, ‘Arm, arm, ye brave,’ which is still an effective solo greatly beloved of bass singers, is followed by a short but rousing chorus, ‘We come in bright array.’ The first part closes with one of the most massive and imposing choruses from Handel’s pen, ‘Hear us, O Lord.’