DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.6887#0108
76 HISTORY OF
might recognize as his own. Before him is the Oratorio of Messiah, his greatest
and unrivalled composition, which displays the beautiful and appropriate air,
" I know that my Redeemer liveth." This monument is the last work of Roubi-
liac, and by such a superior effort, to confer the immortality which sculpture can
give to the exalted genius for whom it was employed, he has added to the works
which will secure his own. The inscription tells no more, but the name wanted
it not, than that, « George Frederic Handel, Esquire, was born February the
" 23d, 1684, and died April the 14th, 1759."
On a plain tablet over the monument is inscribed—
" Within these sacred walls, the memory of Handel was celebrated, under the
" patronage and in the presence of his most gracious Majesty George III. on the
• 26th and 29th of May, and on the 3d and 5th of June, 1784.
" The music performed on this solemnity was selected from his own
" works, under the direction of Brownlow Earl of Exeter, John Earl of
" Sandwich, Henry Earl of Uxbridge, Sir Watkin Williams Wynne, Baronet,
" and Sir Richard Jebb, Baronet. The band, consisting of live hundred and
" twenty-five vocal and instrumental performers, was conducted by Joah Bate,
" Esquire*."
* The origin of this unrivalled celebration of departed genius is thus stated by Dr. Burney, in
his account of the first musical performances in Westminster Abbey in commemoration of Handel,
which took place in May 26, 29, and June 3 and 5, 1784; a work in which there is a great
display of musical taste and science, and where those compositions of the sublime musician per-
formed on the occasion, are examined with a judgment and feeling, that add a grace to the honour
of the commemoration for which these magnificent and unexampled concerts were proposed and
accomplished.
In a conversation between Lord Viscount Fitzwilliam, Sir Watkin Williams Wynne, and Joah
Bates, Esquire, commissioner of the Victualling-Oflice, in the beginning of the year 1783, at the
house of the latter, it was lamented, as the number of eminent musical performers of all kinds, both
might recognize as his own. Before him is the Oratorio of Messiah, his greatest
and unrivalled composition, which displays the beautiful and appropriate air,
" I know that my Redeemer liveth." This monument is the last work of Roubi-
liac, and by such a superior effort, to confer the immortality which sculpture can
give to the exalted genius for whom it was employed, he has added to the works
which will secure his own. The inscription tells no more, but the name wanted
it not, than that, « George Frederic Handel, Esquire, was born February the
" 23d, 1684, and died April the 14th, 1759."
On a plain tablet over the monument is inscribed—
" Within these sacred walls, the memory of Handel was celebrated, under the
" patronage and in the presence of his most gracious Majesty George III. on the
• 26th and 29th of May, and on the 3d and 5th of June, 1784.
" The music performed on this solemnity was selected from his own
" works, under the direction of Brownlow Earl of Exeter, John Earl of
" Sandwich, Henry Earl of Uxbridge, Sir Watkin Williams Wynne, Baronet,
" and Sir Richard Jebb, Baronet. The band, consisting of live hundred and
" twenty-five vocal and instrumental performers, was conducted by Joah Bate,
" Esquire*."
* The origin of this unrivalled celebration of departed genius is thus stated by Dr. Burney, in
his account of the first musical performances in Westminster Abbey in commemoration of Handel,
which took place in May 26, 29, and June 3 and 5, 1784; a work in which there is a great
display of musical taste and science, and where those compositions of the sublime musician per-
formed on the occasion, are examined with a judgment and feeling, that add a grace to the honour
of the commemoration for which these magnificent and unexampled concerts were proposed and
accomplished.
In a conversation between Lord Viscount Fitzwilliam, Sir Watkin Williams Wynne, and Joah
Bates, Esquire, commissioner of the Victualling-Oflice, in the beginning of the year 1783, at the
house of the latter, it was lamented, as the number of eminent musical performers of all kinds, both