Modern music and musicians : [Encyclopedic] . lminatedin his oratorios, which were experimental at first, as Esther, Deb-orah, etc., but magnificently perfect in Israel in Egypt and TheMessiah. The Messiah does not need the stamp of our , Franz, and innumerable lesser lights have worked over it withenthusiasm. The public in many lands, though most of all in England,have given it a measure of approbation such as never yet has distin-guished any other work by any musician. And although through muchuse parts of it are worn well-nigh to tatters, the whole stands as fastand firm as e
Modern music and musicians : [Encyclopedic] . lminatedin his oratorios, which were experimental at first, as Esther, Deb-orah, etc., but magnificently perfect in Israel in Egypt and TheMessiah. The Messiah does not need the stamp of our , Franz, and innumerable lesser lights have worked over it withenthusiasm. The public in many lands, though most of all in England,have given it a measure of approbation such as never yet has distin-guished any other work by any musician. And although through muchuse parts of it are worn well-nigh to tatters, the whole stands as fastand firm as ever, a tie of tremendous strength between Handel andthe world. In claiming Handel as an English composer, Rockstro says: Handel GEORGE FREDERICK HANDEL 57 conceived his last and greatest style of composition to meet the taste ofhis English auditors, used it only when setting English words to music,and found himself, through its influence, placed so closely en rapport withthe public that, attracted by a sympathy more powerful than that of pa-. si /. i T//t:tjx ;,>,,.„ >/,,,,. \; i;•//..% /• ? • lufiffftf tt/i /Mr.) I //. »? Wt:ITT,/??> o,. ,?„,,„.„,.,„„., /IF. 4XDEJL. „,/,,? //,, triotism, he at once made common cause with his new friends, forsookhis fatherland, and dwelt among us as an English subject for the re-mainder of his life. Handel has given us a school of English oratoriowhich owes its existence to the peculiar bias of our national taste as trulyas does the literature of the Elizabethan era or the pointed arch of EarlyEnglish architecture. And the school is for all time. As long as Eng-lishmen are Englishmen it will speak to their religious faith and artisticsense of beauty as no other music has spoken since the days of Tallisand Byrd and Farrant and Orlando Gibbons, for it is as truly English asthe cathedral music of the sixteenth century. This is a rather radicalview, and by an Englishman, but I think it well founded. Like every gre
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