the
last-named work that he was attacked with the illness which finally
proved fatal. He died April 14, 1759, and was buried in Westminster
Abbey. During the last few days of his life he was heard to express the
wish that "he might breathe his last on Good Friday, in hopes of meeting
his good God, his sweet Lord and Saviour, on the day of His
resurrection." The wish was granted him; for it was on Good Friday that
he passed away, leaving behind him a name and fame that will be cherished
so long as music retains its power over the human heart.

Acis and Galatea.

The first idea of Handel's famous pastoral, "Acis and Galatea," is to be
found in a serenata, "Aci, Galatea, e Polifemo," which he produced at
Naples in July, 1708. The plan of the work resembles that of the later
pastoral, though its musical setting is entirely different.[21] Little
was known of it however until nearly a quarter of a century afterwards,
when the composer revived portions of it in one of his London concerts,
as will shortly be seen.

In 1718 Handel entered the service of James, Duke of Chandos, as
chapel-master, succeeding Dr. Pepusch. His patron had accumulated an
immense fortune and spent it in a princely manner. He had built a marble
palace, at an enormous expense, at Cannons in Middlesex, where he lived
in almost regal state. It was the chapel attached to this mansion over
which Handel was called to preside, and there were ready for his use a
large choir, a band of instrumental performers, and a fine organ. The
anthems and services of his predecessor were laid aside, and that year
Handel's busy pen supplied two new settings of the Te Deum and the twelve
Chandos Anthems, which are really cantatas in form. His first English
opera, "Esther," was also composed at Cannons, and was followed by the
beautiful pastoral which forms the subject of this sketch. "Esther" was
first performed Aug. 20, 1720, and it is generally agreed that "Acis and
Galatea" followed it in the same year, though Schoelcher in his biography
assigns 1721 as the date. Nine characters are contained in the original
manuscript,--Galatea, Clori, and Eurilla, sopranos; Acis, Filli, Dorinda,
and Damon, altos; Silvio, tenor; and Polifemo, bass.

After this private performance the pastoral was not again heard from
until 1731-32, when it was given under peculiar circumstances. On the
13th of March, 1731, it was performed for the benefit of one Rochetti,