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HERE in England we are supposed to know our Handel by heart, but it is doubtful whether we do. Who can say from memory the titles of even six of his thirty-nine operas, from whence may be culled many of his choicest flowers of melody? M. Rolland rightly emphasises the importance of the operas of Handel in the long chain of musical evolution, and it seems impossible for anyone to lay down his book without having a more all-round impression than heretofore of this giant among composers. M. Saint-Saëns once compared the position of a conductor in front of the score of a Handel oratorio to that of a man who sought to settle with his family in some old mansion which has been uninhabited for centuries. The music was different altogether from that to which he was accustomed. No nuances, no bowing, frequently no indication of rate, and often merely a “sketched-in” bass.... Tradition only could guide him, and the English, who alone could have preserved this, he considers, have lost it. Can it be recovered to any extent, and, if so, how? Behind each towering figure of genius are to be found numbers of eloquent men who prepared the way for him; and amongst these precursors there is frequently discovered one who exercised a dominating influence over the young budding genius. Such an influence was exercised by Zachau on Handel, and M. Rolland rightly gives due importance to the consideration of this old master’s teachings and compositions, a careful study of which should go far to supplying the right key to Handel’s music. One of the great shortcomings in the general musical listener is a lack of the historical view of music. It is a long cry from Bach and Handel to Debussy and Scriabin, but we shall be all the better for looking well at both ends of the long musical chain which connects the unvoiced expression of the past with the vague yet certain hopes of the future. No doubt we have hardly yet recovered from the false position into which we have all helped to place Handel. He was never the great Church composer which has been assumed for so long. Perhaps, rather, he leaned to the pagan side of life in his art. As Mr. Streatfeild says, “You can no more call the Messiah a work of art than you can call the Book of Common Prayer popular as a masterpiece of literature.... Handel the preacher is laid for ever in the tomb, but Handel the artist with his all-embracing sympathy for human things and his delight in the world around him lives for evermore.” Handel has been greatly, almost wilfully, misrepresented; but he has played too great a part in the history of English music to be cast aside on this account. It is true that there are many difficulties in the way of a clearer understanding of his music. A two-hundred years’ overgrowth of vain vocal traditions is not going to be torn away in the space of a few years. If the operas have been overlooked in favour of the oratorios, then his instrumental music has been even more neglected on account of the preponderance of his vocal movements. In a recent important contribution to Handelian biography only a few pages are given to the instrumental works. In this respect M. Rolland’s clear and critical biography fills in a distinct hiatus.