On the 26th of February, 1752, Handel produced Jeptha, the last of his works. It was the song of the swan. The air, “Waft her, angels,” was invariably performed at the festivals, when these musical solemnities were composed of detached pieces. “In gentle murmurs” is a most graceful invention, and if “Farewell, ye limpid springs” were used in concerts, it would be as successful as the admirable “Before my eyes,” of Hobin des Bois. I do not hesitate to assert that there is no modern Italian quintett which is more melodious than that of “All that is in Hamor.” And how many other splendid things are there, without even mentioning the incomparable recitative, “Deeper and deeper!” It is scarcely to be believed that such beauties could be begotten in a head that had numbered sixty-seven winters. Cradock says that in June, 1774, the whole of Jeptha, the Utrecht Te Deum, Jubilate, and the Coronation Anthems, were sung at Leicester: “Lord Sandwich both days took the kettle-drums.” I have a handbook of this oratorio, which was printed for the “Gloucester Music Meeting” of 1772. Our fathers were much happier than we; for they could sometimes listen to these great works, which modern conductors (with the single exception of Mr. Surrnan) leave slumbering in their glory.