aelites, and is already near
at hand. They join in a chorus expressive of deep despondency ("Oh,
wretched Israel"); but Simon, in a spirited aria ("The Lord worketh
Wonders"), bids them put their trust in Heaven, and Judas rouses their
courage with the martial trumpet song, "Sound an Alarm," which, though
very brief, is full of vigor and fire. After the departure of Judas to
meet the foe, Simon, the Israelitish Man, and the Israelitish Woman
follow each other in denunciation of the idolatries which have been
practised by the heathen among them, and close with the splendid chorus,
"We never will bow down to the rude Stock or sculptured Stone," in which
vigorous repetitions of the opening phrase lead to a chorale in broad,
impressive harmony, with which is interwoven equally vigorous repetitions
of the phrase, "We worship God alone."

The third part opens with the impressive prayer, "Father of Heaven, from
Thy eternal Throne," sung by the Priest. As the fire ascends from the
altar, the sanctuary having been purified of its heathen defilement, the
Israelites look upon it as an omen of victory and take courage. A
Messenger enters with tidings of Judas's triumph over all their enemies.
The Israelitish Maidens and Youths go out to meet him, singing the
exultant march chorus, "See the Conquering Hero comes," which is familiar
to every one by its common use on all occasions, from Handel's time to
this, where tribute has been paid to martial success and heroes have been
welcomed. It is the universal accompaniment of victory, as the Dead March
in "Saul" is of the pageantry of death. It is very simple in its
construction, like many others of Handel's most effective numbers. It is
first sung as a three-part chorus, then as a duet or chorus of Virgins,
again by the full power of all the voices, and gradually dies away in the
form of an instrumental march. The chorus did not originally belong to
"Judas Maccabaeus," but to "Joshua," in which oratorio it is addressed to
Othniel when he returns from the capture of Debir. Handel frequently made
transfers of that kind, and this was a permanent one; for the celebrated
chorus is now unalterably identified with the work in which he placed it,
and in which also the setting is still more imposing. A very elaborate
chorus ("Sing unto God"), a florid aria with trumpet solo for Judas
("With Honor let Desert be crowned"), the chorus, "To our Great God," a
pastoral duet with exquisite accompaniment