and the leading tone is that of a mighty hymn of
rejoicing. Following an overture that is in itself a revelation, the
opening tenor recitative, "Comfort Ye, My People," has a convincing ring
that all is and will be well, mingled with infinite tenderness, and the
succeeding aria, "Every Valley," is pervaded with the freshness of earth
newly arisen amid great glory. The heart-rending desolation of
selections like the contralto air, "He was Despised," only serves to
accentuate the triumph of other portions. Throughout there is a warmth,
a contrapuntal splendor, a breadth, an elasticity, a richness of
orchestration, unknown in previous oratorio, unless in parts of some of
the master's own works. Even in the duet and choruses remodeled from his
chamber duets, there is that jubilant character that makes them blend
perfectly with the great whole.

Born and educated on German soil, steeped during his wanderer's years in
the spirit of the Italian muse, and finally nourished on the cathedral
music of England, Handel became thoroughly cosmopolitan, appropriating
what he chose from the influences that surrounded him. The English
regard him as one of their national glories, call him the "Saxon
Goliath," the "Michael Angelo of music," a "Bold Briareus with a hundred
hands," and have carved his form in enduring marble above his tomb in
Westminster Abbey. Nothing they have said can equal the tribute paid him
by the dying giant Beethoven, who pointing to Handel's works exclaimed:
"There is the truth."

Another lofty, yet wholly different personality, born also in 1685, is
found in Johann Sebastian Bach, whose Passion Oratorios, a direct
outgrowth of the Passion plays of old, furnish materials and inspiration
for all time. Handel worked in and for the public and fought his battles
in the great world. Bach was the lonely scholar who lived apart from
outside turmoil and unabashed in the presence of earthly monarchs,
reigned supreme in the tone-world. A typical Teuton, his music,
intensely earnest, highly intellectual, contains the essence of
Teutonism, and gives full, rich, copious expression to the inmost being
of humanity. The spirit of Protestant Germany is embodied in his
religious tone productions which have proved to Protestantism a tower of
strength. His service in developing the choral alone is inestimable.
Nothing that he has written, better represents the majesty and sublimity
of his style than his "Saint Matthew Passion" with