rical, heart-searching melody, is sung to-day, although
it is by no means as well known as it deserves.

According to tradition, its tender, worshipful strains sung in the
church of the Holy Apostles, at Rome, by the composer himself, once
stayed the hand of an assassin whom jealousy had prompted to slay the
"Apollo della Musica." So Alessandro Stradella was called, because of
his great gifts as singer and composer, and his manly beauty. A jubilant
multitude surrounded him in life, and loud lamentation arose, when, at
length, he fell a victim to envy and malice. Thus the graceful legend
runs. Recent writers are trying to make us believe that the famous
"Pieta Signore" was a later interpolation in "San Giovanni Battista,"
and that it may be attributed to this or that composer, a century or
more after the death of Stradella, in 1681. Unless absolute proof be
afforded us, let us forbear from plucking this gem from his crown.

Composer of fifty operas and many other works, magnificent organist and
harpsichordist, with musical genius of a Titanic order, intellect that
was swift, sure and keen, an indomitable will, a lofty philosophy, and a
lordly personality, George Friedrich Handel, seemingly defeated by
outrageous fortune, wheeled about like some invincible general whose
business it was to win the battle and entering the field of the oratorio
gained a colossal victory. He had for some time passed the half century
milestone of his life when he scored his greatest achievements in this
line, and with magic touch transformed existing materials into the
art-form we know to-day. His "Messiah," which alone would have sufficed
to immortalize him, was produced, in one of his herculean bursts of
power, within twenty-three days, when he was well-advanced in his
fifty-seventh year. It was first given to the public, in Dublin, April
13, 1742, seven months after its completion. The enthusiasm it awakened
was repeated when it was performed later in London. Here, indeed, the
audience became so transported that at the opening of the Hallelujah
chorus every one present, led by the king, rose and remained standing, a
custom we follow to-day.

Herder calls the "Messiah" a Christian epopee, in musical sounds. It is
certainly written in the large, grand style of a noble epic, for it had
large matters to express, and its composer regarded music as a means of
addressing heart and soul. The theme is treated with reverence, delicacy
and judgment,