or a balance of good
qualities, and for even and sustained inspiration throughout, the
"Messiah" is justly entitled to the rank which, by common consent, it
holds as the most complete master work which oratorio can show.

In the "Israel in Egypt" Haendel illustrates a different phase of his
talent. This curious work is composed almost entirely of choruses, the
most of which are for two choirs, very elaborately treated. Among them
all, the two which perhaps stand out pre-eminent are "The Horse and
His Rider" and the "Hailstone," two colossal works, as dramatic as
they are imposing. The masterly effect of the Haendelian chorus rests
upon the combination of good qualities such as no other master has
accomplished to the same extent. They are extremely well written for
the voice, with an accurate appreciation of the effect of different
registers and masses, the melodic ideas are smooth and vigorous, and
the harmonic treatment as forcible as possible, without ever
controlling the composer further than it suited his artistic purpose
to go. Bach very often commences a fugue which he feels obliged to
finish, losing thereby the opportunity of a dramatic effect. Haendel
perfects his fugue only when the dramatic effect will be improved by
so doing, and in this respect he makes a distinct gain over his great
contemporary at Leipsic. The total list of the Haendel works comprises
the following: Two Italian oratorios; nineteen English oratorios; five
Te Deums; six psalms; twenty anthems; three German operas; one English
opera; thirty-nine Italian operas; two Italian serenatas, two English
serenatas; one Italian intermezzo, "Terpsichore"; four odes;
twenty-four chamber duets; ninety-four cantatas; seven French songs;
thirty-three concertos; nineteen English songs; sixteen Italian airs;
twenty-four sonatas.

Haendel was never married; nor, so far as we know, ever in love. He had
among his friends some of the most eminent writers of his day, such as
Addison, Pope, Dean Swift and others. His later years were so
successful that when he died his fortune of above L50,000 was left for
charitable purposes. This was after he had paid all of the
indebtedness incurred in his earlier bankruptcy. It would be a mistake
to dismiss this great master without some notice of his harpsichord
and organ playing. As a teacher of the princesses of the royal family,
he produced many suites and lessons for the harpsichord, in one of
which, as an unnoticed inci