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traced to the fact that there was a much larger
crowd in the area and south nave—the galler'es,
affording a less favourable view of the Royal box
and its distinguished tenant=, having been partially
deserted f r the seats below. Madame Novello's
clear and penetrating voice was heard to 'much
better advantage in the National Anthem ; and her
high " B flat," which was the town-talk after the
inauguration of the Crystal Palace three years since
again excited admiration.
The oratorio of " Judae, Maccabwus," although
it must not be compared with the "Messiah " and
" Lrael in Egypt," is still one of the greatest com-
p() itior,s of Handel. The 12th of the 19 works of
-the same class wri,ten by the illustrious musician in
this country, it was planned and completed in the
short space of one mouth (when Handel was in his
61st year), and perf. rmed at Covent-g irden Th'eatre
on the I§t of April, 1747, with great succesq. One
of its principal charms is the variety which the
nature of the book suggested to the cluiposer.
This enabled Handel to break repeatedly from the
bonds in which he was held by the in,ipid muse of
Dr. Thomas Morell, and, searing on the wings of
genius, to make the world forget the dullness of
the port irr the greatness of the musician. The
three pat ts into which the oratorio is divided- are
happily contrasted—'he prevalence of pathetic
mule in the first, of heroic in the second, and of
jublantin the third, stumping each with a certain
characteristic individuality of which the composer
successfully availed himself. The music has been so
often described, and the larger part is so generally
known, that to comment upoirit • now would he
going over well-trodden ground to little or no pur-
pose. It is enough to speak of the admirable man-
ner in which it was escecuted at the Crystal Palace
on this memorable occasion, and of its enthusiastic
appreciation by the audience.
Iu the overture, one of Handel's most spirited
orchestral preludes, the fugue was led off and re-
sponded to by the violins and other stringed instru-
ments wish wonderful precision. The opening cho-
rus (lamentation for the father of Judas), so sub-
lime in its expression of grief, was remarkably well
given, and the subdued under-tone of the voices
on the words "is no more," in beautiful relief
Equally good was its companion in musical pathos,
" For Sion lamentation make," which, besides its
very striking progressions of harmony, contains a
phrase bearing close resemblance to "Behold the
Lamb of God," in the " Messiah." The- choral
supplication, " 0 Father whose Almighty power,"
was highly impressive, and the basses seemed
determined to expiate their rare shortcomings on
the occasion of their first performance. The
fugue, to which the words, "And giant a leader
bold and brave," is set, was everywhere pointed
and accurate. In this . chorus, and in several
others, Mr. Costa has introduced braes instruments,
often with great facility and effect, but at times,
we think, too lavishly. If this was noticeable in
such an arena as that presented by the central tran-
sept of the Crystal Palace, how much more would
that be the case elsewhere ? Handel's original score,

it is true, sounds meagre to ears trained in the mo-
dern style of 'instrumentation, which would hardly
tolerate an orchestra of "strings," with oboes, bas-
soons, and occas'onal gl•mpses of trumpets, flutes,
and horns. But the task of supplying what Handel
has l-fc undone is one of extreme delicacy. His
vocal part-writing is masterly, his use of the stringed
band (especially) broad and fluent ; the nicest dis-
crimination is therefore indispensable iu the choice
of where and what to add. It is dangerous to
double his melodic parts, and it is dangerous to
interpolate new ones ; so that, really, a close
consideration of the matter can only lead
to the conviction that the labour should. be
confined to filing up the harmony of wind instru-
ments in plain and conspicuous places, dis, arding
invention and composition altogether. If the
added instruments are so employed as to damage
the clearness of the vocal parts, or to disturb the
progress of the instrumental figures, effect is rather
lost than gained by the innovation—since addi-
tional noise can by no means be considered an equi-
valent for additional strength. These remarks are
not directed against the new accompaniments of
Mr. Costa, who is a conscientious as well as a prac-
tical musician, and. is too well acquainted with the
orchestra and its resources not to be thoroughly
aware of what rocks and shoals are inevitably in
the way of any one, less than Mozart or Mendels-
Bohn, undertaking to interfere" with the scores of
Handel. They are intended for general applica-
tion. For years we have had to submit to the
meddling of incompetent hands in some of the
greatest and most lasting works of genius ; and if
Mr. Costa will make up his 'mind to bestow serious
attention to the subject he may accomplish reforms
for which the musical community may have to
thank him.
The other choruses in the first part were sung in
very sa,tisf ictory le,—" We come, we Come" (in
the same key as " He gave them hailstones," from
"Israel," and in soma points bearing a strong
similarity to that wonderful piece) ; " Lead ou,
lead on," and "Disdainful of danger"—short,
bold, and vigorous illustrations of the same senti-
ment, and appearing in bold relief atter the solemn
character of what precedes them—were all effective.
But still better was the final chorus, "Hear us,
0 Lord," which embodies simultaneously, and with
infinite grandeur, the sentiment of religious faith
and the enthusiasm of martial ardour. Mendelssohn
evidently had this very fine composition in his
mind when he wrote the noble and ingenious
chorus in " St. Paul," "Oh, great are the depths."
The first part of the oratorio could not have ter-
minated with more splendid effect.
After the usual interval, which her Majesty the
Queen and her faithful subjects devoted, we be-
lieve, 'to much the same object—that of refresh-
ment, the second part of " Judas Maccabaeus"
commenced majestically with one of the most su-
perb and dramatic of all the choruses of Handel—
Fallen is the foe." In this grand inspiration +he
author of the " Messiah" has displayed the singular
faculty ho possessed of seizing hold and devel iping
any marked idea that might be presented to him
through the m-diem of no matter what kind of
poetry. Dr. Morell (happly) has refrained from
treating the subject at any length. His allusions to
the victory of Judas, and the destruction of the
enemy, are oompLsed in a not very transcendant
couplet ;
" Fall's is the foe ; so fall thy foes, 0 Lord,
" Where warlike Judas wields his righteous sword."
That is all. But it was enough for Handel, and
helped him to contrive a masterpiece—a musical
po-m of attonishiug and varied power. The only
objection we have to make to Mr. Costa's additions
here is that he has filled up the intervals in that
remarkable passage where the voices reiterate the
word " Fall'n," three times, in an underhreath, the
mysterious effects of which cannot but be injured
by any interpolation. In this, and in the tuneful
and beautifully harmonised choral piece which
chimes in with the duet, " Sion now her head shall
raise," the multitude of singers earned nothing but
laurels. The high note (A) of the trebles and
altos, sustained during two bars, on the word
" harps," was nothing short of thrilling. The pa-
thetic chorus, " Ab, wretched Israel" (where the
Jews are in despair at the approach of Antiochus)
would have been irreproachable, but for the substi-
tution of loud for soft in the concluding passage,
which violated Handers meaning without improv-
7ng him.
The finest choral performance of the daxi, how

ever, and one of the finest probably ever listened to,
wis that of the glorious and magnificent " We
never, never will bow down" (in which, by the way,
Mr. Costa his employed the brass instruments
with powerful and legitimate effect). The sublime
progression of ha,tmony in the major key—on the
words, •‘ We worship God and God alone"—the
bass of which is afterwards treated, with extraor-
dinary ingenuity, as a plain song ("canto fermo"),
combined with an independent fugue—was deli-
vered with astounding force ; and from that point
to the climax the choir seemed to accumulate power.
The audience, to use a familiar phrase, were com-
pletely " cirried away" by this wonderful perform-
ance, the most perfect and the most impressive
that, up to this moment, has distinguished the
Handel Festival. The applause was tumultuous.
In the third yart the most striking point was the
well-known "See the Conquering Hero comes,"
which was capitally performed, and re-demanded
with even greater vehemence than " For unto us a
Child is born," on Monday. Mr. Costa, however—
consist( nt to the wise principle he would seem to
have adopted—proceeded with the march, heedless
of the uproar behind him. The audience continuing
obstinate, however, and evidently indisposed to
submit even to a wholesome despotism, the con-
ductor turned to the gallery in which the Quten
was seated as if for couns,lhow to act. The matter
was briefly settled ; her Majesty, appearing to en-
tertain foe same wish as that which had been una-
nimously expressed by her subjects. conveyed a sig-
nal of assent, and.the layout ite chorus was repeated.
The "Hallelujah," which' brings the oratorio to an
end—Handers least important composition of its
class—was given in a style worthy of the rest, and
appropriately terminated this remarkably fine per-
formance.
The principal singers, as we have Wilted, were