nce. Handel did not, it is true,
establish the hospital; it was founded in 1741 by one Captain Coram,
out of the profits of a trading vessel of which he was the master. But
nine years later (in 1750) he presented the hospital with a fine
organ, and, in order to inaugurate the opening of the instrument, he
announced that he would perform upon it the music of the 'Messiah.' So
great was the demand for seats upon this occasion that it was found
necessary to repeat the performance. Handel afterwards presented a
manuscript score of the oratorio to the Foundling, and undertook to
give an annual performance of the work for the benefit of the charity.
Eleven performances under his direction were given at the Foundling
before his death, by which a sum of L6,955 was added to the hospital
funds. Nor did this good work cease with the composer's death, for we
learn that the annual performances continued to be given, and that
seventeen of these brought the total amount by which the 'Messiah'
benefited the hospital up to L10,299, a fact which of itself speaks
volumes for the appreciation in which the oratorio was held.

In connection with the gift of the 'Messiah' score to the Foundling an
amusing story is told, which serves to illustrate the imperiousness of
Handel's temper. The directors of the hospital were desirous of
retaining for themselves the exclusive right to perform the 'Messiah,'
and with this idea they sought to obtain an Act of Parliament
confirming their rights. When Handel heard of the proposal, however,
he burst out in a rage with, 'Te teufel! for what sall de Foundlings
put mein moosic in de Parliament? Te teufel! mein moosic sall not go
to de Parliament!' And it is hardly necessary to add that 'de moosic'
did not go to 'de Parliament.'

It is difficult, within the compass of this little story, to convey a
just idea of the extraordinary amount of work which Handel's life
comprised. One oratorio after another followed the 'Messiah,' none of
them entitled to rank with that great work for either loftiness of
subject or grandeur of expression, yet many containing passages of
unrivalled beauty. 'Jephtha,' which was the last oratorio he composed,
contains the magnificent recitative, 'Deeper and deeper still,' and
the beautiful song, 'Waft her, angels.' It was while writing 'Jephtha'
that Handel became blind, but, though greatly affected by this loss,
it did not daunt his courage or lessen his power of work. He was then
i