hich
closes this remarkable work.

The weakest part of the oratorio is the "Requiem," which suffers from the
monotony of its divisions, especially when compared with the treatment of
requiems by the great composers who have made them a special study. As
compared with the "Redemption," however, it is more interesting, because
it is more melodious and less cumbered with recitative. It is also
peculiarly noticeable for the free manner in which the composer uses the
orchestra, and the skill with which the typical melodies are employed, as
compared with which the solitary "Redemption" motive seems weak and thin.
Both works are full of genuine religious sentiment, and taken together
cover almost the entire scope of human aspiration so far as it relates to
the other world. No composer has conceived a broader scheme for oratorio.
Though Gounod does not always reach the sublime and majestic heights of
the old masters in sacred music, yet the feeling manifested in these
works is never anything but religious; the hearer is always surrounded by
an atmosphere of devotion.

HANDEL.

George Frederick Handel was born at Halle, in Lower Saxony, Feb. 23,
1685, and, like many another composer, revealed his musical promise at a
very early age, only to encounter parental opposition. His father
intended him to be a lawyer; but Nature had her way, and in spite of
domestic antagonism triumphed. The Duke of Saxe-Weissenfels recognized
his ability and overcame the father's determination. Handel began his
studies with Zachau, organist of the Halle cathedral. After the death of
his father, in 1697, he went to Hamburg, and for a time played in the
orchestra of the German opera. It was during his residence in that city
that he wrote his first opera, "Almira" (1705). In the following year he
went to Italy, where he remained several months under the patronage of
the Grand Duke of Florence. During the next two years he visited Venice,
Rome, and Naples, and wrote several operas and minor oratorios. In 1709
he returned to Germany, and the Elector of Hanover, subsequently George
I. of England, offered him the position of Capellmeister, which he
accepted upon the condition that he might visit England, having received
many invitations from that country. The next year he arrived in London
and brought out his opera of "Rinaldo," which proved a great success. At
the end of six months he was obliged to return to his po