acteristic
expression, by which I mean expression which goes to the genius of the
melodic phrase when it springs from the verbal, should be ignored,
simply because it may be difficult of attainment from large bodies of
singers. There is so much monotony in oratorio concerts because all
oratorios and all parts of any single oratorio are sung alike. Only
when the "Hallelujah" is sung in "The Messiah" at the gracious
Christmastide is an exaltation above the dull level of the routine
performances noticeable, and then it is communicated to the singers by
the act of the listeners in rising to their feet. Now, despite the
structural sameness in the choruses of "The Messiah," they have a
great variety of content, and if the characteristic physiognomy of
each could but be disclosed, the grand old work, which seems hackneyed
to so many, would acquire amazing freshness, eloquence, and power.
Then should we be privileged to note that there is ample variety in
the voice of the old master, of whom a greater than he said that when
he wished, he could strike like a thunderbolt. Then should we hear the
tones of amazed adoration in

[Music illustration: Be-hold the Lamb of God!]

of cruel scorn in

[Music illustration: He trust-ed in God that would de-li-ver Him, let
him de-li-ver him if he de-light in him.]

of boastfulness and conscious strength in

[Music illustration: Let us break their bonds a-sun-der.]

and learn to admire as we ought to admire the declamatory strength
and truthfulness so common in Handel's choruses.

[Sidenote: _Mediaeval music._]

[Sidenote: _Madrigals._]

There is very little cultivation of choral music of the early
ecclesiastical type, and that little is limited to the Church and a
few choirs specially organized for its performance, like those that I
have mentioned. This music is so foreign to the conceptions of the
ordinary amateur, and exacts so much skill in the singing of the
intervals, lacking the prop of modern tonality as it does, that it is
seldom that an amateur body can be found equal to its performance.
Moreover, it is nearly all of a solemn type. Its composers were
churchmen, and when it was written nearly all that there was of
artistic music was in the service of the Church. The secular music of
the time consisted chiefly in Madrigals, which differed from
ecclesiastical music only in their texts, they being generally erotic
in sentiment. The choristers of to-day, no less than the public