The Irish people were so cordial, that the composer remained almost a year among them.  For it was not till March 23, 1743, that the “Messiah” was performed in London.  The King was one of the great audience who heard it.  All were so deeply impressed by the Hallelujah chorus, that with the opening words, “For the Lord God omnipotent reigneth,” the whole audience, including the King, sprang to their feet, and remained standing through the entire chorus.  From that time to this it has always been the custom to stand during this chorus, whenever it is performed.

Once started on this line of thought, one oratorio after another flowed from his prolific pen, though none of them proved to be as exalted in conception as the “Messiah.”  The last work of this style was “Jephtha,” which contains the beautiful song, “Waft her, angels.”  While engaged in composing this oratorio, Handel became blind, but this affliction did not seem to lessen his power for work.  He was now sixty-eight, and had conquered and lived down most of the hostility that had been so bitter against him.  His fortunes also constantly improved, so that when he passed away he left twenty thousand pounds.

The great composer was a big man, both physically and mentally.  A friend describes his countenance as full of fire; “when he smiled it was like the sun bursting out of a black cloud.  It was a sudden flash of intelligence, wit and good humor, which illumined his countenance, which I have hardly ever seen in any other.”  He could relish a joke, and had a keen sense of humor.  Few things outside his work interested him; but he was fond of the theater, and liked to go to picture sales.  His fiery temper often led him to explode at trifles.  No talking among the listeners could be borne by him while he was conducting.  He did not hesitate to visit violent abuse on the heads of those who ventured to speak while he was directing and not even the presence of royalty could restrain his anger.

Handel was always generous in assisting those who needed aid, and he helped found the Society for Aiding Distressed Musicians.  His last appearance in public, was at a performance of the “Messiah,” at Covent Garden, on April 6, 1759.  His death occurred on the 14th of the same month, at the house in Brook Street where he had lived for many years.  Thus, while born in the same year as Sebastian Bach, he outlived him by about a decade.  He was buried in Westminster Abbey, and later a fine monument was erected to his memory.  The most of his manuscripts came into the possession of King George III, and are preserved in the musical library of Buckingham Palace.

IV

CHRISTOPH WILLIBALD GLUCK