imagery attached to sacred words, he had a knowledge and comprehension of the power and effects of musical sounds, whether simple or complex, which nothing could exceed. He seems to have undertaken the task with enthusiasm, and to have performed it, as if under the influence of actual inspiration. These, Sir, are not the expressions of partiality. I have no bigotry. I can relish every species of Music, which any one can justly pronounce good in its kind; from the simplest ballad, to the most complicated bravura of the opera; from the plain minuet or gavot, to the most beautiful extravagancies of the fanciful Haydn. I have heard, with delight, the sacred music of the old Italian masters; the Masses of Pergolesi and Leo, the Anthems of Marcello and Palestrina. There is no author of celebrity among our own composers of cathedral Music, from Tye to Kent, whose merits I have not in turn acknowledged. But, Sir, to feel the whole excellence of Handel's Oratorio Music, it is not sufficient to have ears, and to have

cultivated the habit of listening with them: there are sentiments and feelings of the soul, which he possessed, and well knew how to communicate; but which cannot be received where the mind is not prepared. But, where any congenial dispositions exist, I have no doubt in saying, that no eloquence of an Augus tine or a Chrysostom, could so powerfully excite the genuine feelings of devo tion, as the strains of Handel, united to the words of scripture.

ALLOW me, for the sake of illustration, to dwell more minutely on the great example I have thus introduced.

The Oratorio of MESSIAH is, I am entirely convinced, as perfect a composition of the kind, as the faculties of human nature are capable of producing. Even the Overture, which is not at all

*The reader who wishes to see a professional analysis of this oratorio, written with great musical skill, is referred to page 70 of Dr. Burney's Account of the Commemoration of Handel. The account here

formed to captivate the common ear, has a sober grandeur, which prepares the mind for the sacred strains that are to follow. It is a foreground, whose colouring is purposely kept down, that it may relieve, rather than interfere with, the splendour of the picture. The subject of the Oratorio is then opened by an accompanied recitative, which, singers much inferior to Mr. Harrison have felt, can never be delivered without effect. It is comfort and pardon, offered by Divine Mercy, with no less tenderness than dignity; and the preparation of the way of the Lord is so announced, as to give perfect life to the words of the prophet. The air which follows, continues the idea of preparation, and touches, rather than attempts to imitate, the removal of the obstacles. The declaration, that the

Glory of the Lord shall be revealed," is then made, in choral music, short and simple; but whether more sublime or beautiful cannot easily be decided. The

given was purposely written without reference to it, but receives the strongest confirmation from it.

delivery of the words, " for the mouth of the Lord hath spoken it," is peculiarly grand and appropriate. Another recitative accompanied, to the words, “Thus saith the Lord," now follows. It is given to a base voice, and has all the dignity which the solemn declaration demands. The setting of the words, "even the messenger of the covenant whom ye delight in," and of those that follow, “behold he shall come, saith the Lord of Hosts," is stamped with the strongest impression of genius. The next air is expressive chiefly of alarm, and agitation, at the idea of our inability to "abide the day of his coming." The very simple recitative, "Behold a virgin shall conceive," is only the more noble for its simplicity; and good tidings have seldom been related with more animation than in the ensuing song, "O thou that tellest, &c." Of a very different character are the subsequent recitative accompanied, and song; which are among those efforts of genius, wherein this great master has contrived to paint darkness by its mental effects,

the production of uncertainty and hesitation. The light then rises out of it, with clearness and simplicity. The birth of the Saviour is next declared, in a chorus, which seems to carry the powers of music to their highest elevation, though it is afterwards to be surpassed in the same work. The proclamation of his mysterious names, "Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace," is such as almost to compel infidelity itself to bow with adoration!

BUT what words can do justice to the sweetness of the pastoral symphony, which introduces the narrative of the shepherds? It is like the famous natale of Corelli, beyond a doubt; at the same time that it has characters of its own, and particularly avoids the chromatics, which rather overseason the intermediate passages of that justly admired composition. We are then led through a judicious mixture of recitative, air, and accompaniment, to the actual appearance