o
us! Again descending, thou Heavenly One") describes the might of song. A
brief orchestral interlude follows, preparing the entrance of a barytone
solo with chorus ("Blessed Comforter in Grief"). The work closes with a
partial repetition of the opening chorus, with a more elaborate and
brilliant figural accompaniment, in the course of which the march-like
subject is heard again in the brasses. At the end the strings maintain a
tremolo while the rest of the orchestra presents a passage with varied
harmonies. The opening theme of the cantata, though not a repetition,
bears a strong analogy to the introduction of the symphony movement.

HANDEL.

George Frederick Handel was born at Halle, in Lower Saxony, Feb. 23,
1685, and like many another composer revealed his musical promise at a
very early age, only to encounter parental opposition. His father
intended him to be a lawyer; but Nature had her way, and in spite of
domestic antagonism triumphed. The Duke of Saxe-Weissenfels recognized
his ability and overcame the father's determination. Handel began his
studies with Zachau, organist of the Halle cathedral. After the death of
his father, in 1697, he went to Hamburg, and for a time played in the
orchestra of the German opera. It was during his residence in that city
that he wrote his first opera, "Almira" (1705). In the following year he
went to Italy, where he remained several months under the patronage of
the Grand Duke of Florence. During the next two years he visited Venice,
Rome, and Naples, and wrote several operas and minor oratorios. In 1709
he returned to Germany, and the Elector of Hanover, subsequently George
I. of England, offered him the position of capellmeister, which he
accepted upon the condition that he might visit England, having received
many invitations from that country. The next year he arrived in London
and brought out his opera of "Rinaldo," which proved a great success. At
the end of six months he was obliged to return to his position in
Hanover; but the English success made him impatient of the dulness of the
court. In 1712 he was in London again, little dreaming that the Elector
would soon follow him as king. Incensed with him for leaving Hanover, the
King at first refused to receive him; but some music which Handel
composed for an aquatic fete in his honor brought about the royal
reconciliation. In 1718 he accepted the position of chapel-master to the
Du