On this date in 1747, London concert-goers gathered in response to a newspaper announcement, which read, “At the Theatre-Royal in Covent-Garden will be perform'd a new oratorio, call'd ‘Judas Maccabaeus’… no person to be admitted without tickets… at half a guinea each.”

The composer of this piece was George Frideric Handel. Over time, one choral tune in “Judas Maccabaeus,” entitled “See, the Conqu’ring Hero Comes,” became something generations of audience members would whistle or hum on their way home.

Oddly enough, audiences wouldn’t have heard that tune at the 1747 premiere, since Handel only added it to his score years later, after first using it in another oratorio altogether.

Fifty years after the oratorio’s premiere, Beethoven composed twelve variations on “See, the Conqu’ring Hero Comes” for piano and cello, and 90 years after Beethoven, the melody was used for an Easter hymn some of us know as "Thine Be the Glory.”

The tune also appears in a much rowdier context during the annual Last Night of the Proms concert in London, since it crops up in Sir Henry Wood's “Fantasia on British Sea Songs,” an almost obligatory party piece played on that occasion

Ludwig van Beethoven Variations on Handel's "See, the conquering hero comes" Sir Henry Wood Fantasia on British Sea Songs