
George Frederick Handel
        [Properly Haendel: the distinguished musical composer; born at Halle, in Prussian Saxony, Feb. 24, 1684; composed sonatas at the age of ten; after study in Italy, settled in England, and acted as manager of the new Academy of Music, and of a theatre in which he lost his fortune; devoted himself from 1740 to the production of sacred music, composing the “Messiah,” 1741; died 1759, and was buried in Westminster Abbey.]
          Of his state of mind during the composition of “The Messiah.”
Vy, sir, your Highness plays like a prince.
          Being asked by a member of the royal family how he liked his playing on the violoncello. A similar answer was given by Voltaire to the Duc de Villars, who asked him how he played the part of Genghis Khan in the poet’s “Orphelin,” at Ferney: “Like a duke and peer.” Marat, revolutionist as he was, favored the restoration of their titles to the nobles, because, as he said, “a duke is always a duke” (un duc est toujours un duc). He gave that as a reason for sentencing to death the republican Duc d’Orleans (Égalité): whatever he might profess, he would always be a noble. Napoleon said of the desertion of some of his generals after his first abdication, “You see, my dear Gerard, that the blue are always blue, and the white always white.”
  When Philip of Macedon corrected a musician at a banquet, and discoursed with him concerning notes and instruments, the musician replied, “Far be that dishonor from your majesty, that you should understand these things better than I do.”—PLUTARCH: Apothegms.
  Handel said at a state concert to George III. when a child, “You will take care of my music when I am dead.”
