Handel

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HANDEL

[Illustration: G. F. HANDEL _from a woodcut by Eric King_]

BY EDWARD J. DENT

CONTENTS

_Chapter_ I

Birth and parentage--studies under Zachow at Halle--Hamburg--friendship and
duel with Mattheson--_Almira_--departure for Italy.

_Chapter_ II

Arrival in Italy--_Rodrigo_--Rome: Cardinal Ottoboni and the
Scarlattis--Naples: Venice: _Agrippina_--appointment at Hanover--London:
_Rinaldo_.

_Chapter_ III

Second visit to London--Italian opera--George I and the _Water
Music_--visit to Germany--Canons and the Duke of Chandos--establishment of
the Royal Academy of Music.

_Chapter_ IV

Buononcini--Cuzzoni, Faustina, and Senesino--death of George I--_The
Beggar's Opera_--collapse of the Academy.

_Chapter_ V

Handel naturalized--partnership with Heidegger--_Esther_--the Opera of
the Nobility--visit to Oxford--opera season at Covent Garden--Charles
Jennens--collapse of both opera-houses.

_Chapter_ VI

Bankruptcy and paralysis--visit to Aix-la-Chapelle--the last
operas--Vauxhall Gardens--Handel's "borrowings"--visit to
Ireland--_Messiah_ and other oratorios.

_Chapter_ VII

_Judas Maccabaeus_--Gluck--Thomas Morell--incipient blindness--Telemann and
his garden--last oratorios--death--character and personality.

_Bibliography and List of Works_

CHRONOLOGY

1685.... Birth at Halle.
1702.... Entered University; organist of the Cathedral.
1703.... Went to Hamburg.
1705.... First opera: _Almira_ (Hamburg).
1707.... Arrival in Italy.
1710.... Appointment at Hanover; first visit to London.
1711.... First London opera: _Rinaldo_.
1712.... Second visit to London.
1717.... Appointment to the Duke of Chandos.
1720.... Opening of Royal Academy of Music (Opera).
1726.... Naturalized as a British subject.
1728.... _The Beggar's Opera_. Collapse of the Academy.
1732.... First public oratorio: _Esther_.
1733.... Festival at Oxford.
1737.... Collapse of Opera; Handel bankrupt and paralysed.
1741.... Last opera: _Deidamia_.
1742.... _Messiah_ at Dublin.
1751.... First signs of blindness. Last oratorio _Jeptha_.
1759.... Death in London.

CHAPTER I

Birth and parentage--studies under Zachow at Halle--Hamburg--friendship and
duel with Mattheson--Almira--departure for Italy.

The name of Handel suggests to most people the sound of music unsurpassed
in massiveness and dignity, and the familiar portraits of the composer
present us with a man whose external appearance was no less massive and
dignified than his music. Countless anecdotes point him out to us as a
well-known figure in the life of London during the reigns of Queen Anne
and the first two Georges. He lies buried in Westminster Abbey. One would
expect every detail of his life to be known and recorded, his every private
thought to be revealed with the pellucid clarity of his immortal strains.
It is not so; to assemble the bare facts of Handel's life is a problem
which has baffled the most laborious of his biographers, and his inward
personality is more mysterious than that of any other great musician of the
last two centuries.

The _Memoirs of the Life of the late George Frederic Handel_, written by
the Rev. John Mainwaring in 1760, a year after his death, is the first
example of a whole book devoted to the biography of a musician. The author
had never known Handel himself; he obtained his material chiefly from
Handel's secretary, John Christopher Smith the younger. Mainwaring is our
only authority for the story of Handel's early life. Many of his statements
have been proved to be untrue, but there is undoubtedly a foundation of
truth beneath most of them, however misleading either Smith's memory or
Mainwaring's imagination may have been. The rest of our knowledge has to
be built up from scattered documents of various kinds, helped out by the
reminiscences of Dr. Burney and Sir John Hawkins. For the inner life of
Mozart and Beethoven we can turn to copious letters and other personal
writings; Handel's extant letters do not amount to more than about twenty
in all, and it is only rarely that they throw much light on the workings of
his mind.

The family of Handel belonged originally to Breslau. The name is found
in various forms; it seems originally to have been _Händeler_ signifying
trader, but by the time the composer was born the spelling _Händel_ had
been adopted. This is the correct German form of his name; in Italy he
wrote his name _Hendel_, in order to ensure its proper pronunciation, and
in England he was known, for the same reason, as Handel. The Handels of
Breslau had for several generations been coppersmiths. Valentine Handel,
the composer's grandfather, born in 1582, migrated to Halle, where two of
his sons followed the same trade. His third son, George, born 1622, became
a barber-surgeon. At the age of twenty he married the widow of the barber
to whom he had been apprenticed; she was twelve years older than he was. In
1682 she died, and George Handel, although sixty years of age, married a
second wife within half a year. Her name was Dorothea Taust; her father,
like most of his ancestors, was a clergyman. Her age was thirty-two. Her
first child, born in 1684, died at birth; her second, born February 23,
1685, was baptised the following day with the name of George Frederic.

The town of Halle had originally belonged to the Dukes of Saxony, but after
the Thirty Years' War it was assigned to the Elector of Brandenburg. George
Frederic Handel was therefore born a Prussian. But Duke Augustus of Saxony
was allowed to keep his court at the Moritzburg in Halle, and it was this
prince who made George Handel his personal surgeon. After Duke Augustus's
death in 1680, Halle was definitely transferred to Brandenburg, and the new
Duke, Johann Adolf, took up his residence at Weissenfels, twenty-five miles
to the south-west of Halle. At the time of George Frederic's birth, Halle
had relapsed into being a quiet provincial town. The musical life of
Germany in those days was chiefly centred in the numerous small courts,
each of which did its best to imitate the magnificence of Louis XIV at
Paris and Versailles. But the seventeenth century, although it produced
very few musicians of outstanding greatness, was a century of restless
musical activity throughout Europe, especially in the more private and
domestic branches of the art. The Reformation had made music the vehicle of
personal devotion, and the enormous output of a peculiarly intimate type of
sacred music, both in Germany and in England, shows that there must have
been a keen demand for it in Protestant home life.

George Handel, the surgeon, seems to have hated music. There is no evidence
that either his wife or her sister, who shared their home after her
father's death in 1685, was musically gifted, but the mere fact of their
being the daughters of a Lutheran pastor makes it probable that they had
had some education in the art. We may safely guess that the composer
inherited his musical talents from the Taust family. He showed his
inclination for music at a very early age, with such insistence indeed
that his father forbade him to touch any musical instrument. There is a
well-known story of his contriving to smuggle a clavichord into a garret
without his father's knowledge in order to practise on it while the rest of
the family were asleep, but for this tale Mainwaring is our only authority.
It is very probable that old Handel was irritated by the sound of his son's
early efforts and regarded music as a waste of time; his wife may perhaps
have encouraged the child's obvious abilities, taking care that he made
music only in some part of the house where he would not disturb his father.

At the age of seven he was sent to the Lutheran Grammar School, and he may
very likely have had some instruction in singing while there. In any case
there can be no doubt that he was taught more than the mere rudiments of
music in childhood, however severe his father's opposition may have been.
He was between seven and nine when his father took him to Weissenfels,
where he was required to attend on the Duke. It is quite probable that the
child may have been taken there several times, especially as a relative
of his was in regular service in the Duke's establishment. One day he was
allowed to play on the organ in the palace chapel; the Duke happened to
hear him, made enquiries as to who the player was, and at once urged on the
father the duty of having him properly trained for a musical career.

Old Handel remained obstinate; he was determined that his son should have
a liberal education and become a lawyer. By his own efforts he had raised
himself to a position of some distinction and affluence; it was only
natural that he should wish his son to enter on life with better advantages
than he himself had enjoyed. He at any rate followed the advice of the Duke
so far as to place the boy under the musical tuition of Friedrich Zachow,
the organist of the Lutheran church at Halle.

The next episode in George Frederic's career has considerably puzzled his
biographers. Mainwaring asserts that in 1698 he went to Berlin, where he
was presented to the Electress Sophia Charlotte and made the acquaintance
of Ariosti and Giovanni Battista Buononcini, two famous Italian opera
composers whom he was to encounter again, in London, many years later. But
it is known that Ariosti did not arrive in Berlin until the spring of 1697,
and Buononcini not until 1702. And as old Handel died in February 1697, his
son cannot have been in Berlin later than about the end of 1696, if it is
true (as Mainwaring says) that the Elector offered to send him to Italy, an
offer which the father firmly refused to accept for him. If, on the other
hand, Mainwaring is right in saying that young Handel went to Berlin with a
view to obtaining a musical post there, it is hardly likely that he should
have made the journey at ten years of age, and while his father was still
living. It seems much more probable that if he ever did visit Berlin it was
when he was of an age to form his own judgments as to his future career.

Three days before his seventeenth birthday he matriculated as a law student
of the University of Halle, but music must have been the chief occupation
of his time. The composer Telemann, four years his senior, spoke of him
as being already a musician of importance at Halle when he first met him
there, probably in 1700. In March 1702 he was appointed organist at the
Cathedral, although he belonged to the Lutheran Church, whereas the
Cathedral was Calvinist; considerable scandal had been caused by the
intemperance of the Cathedral organist, one Leporin, who was finally
dismissed. That Handel should have been given the post at so early an age
points to his ability and trustworthiness of character; it also suggests
that efficient organists were rare among the Calvinist musicians.

Mainwaring unjustly credited Zachow with Leporin's love of a cheerful
glass, and other biographers have perhaps for this reason greatly
underrated Zachow's musicianship. Zachow cannot indeed be classed as a
great composer, but he was considerably more than merely a sound average
teacher. For one thing, he possessed a large library of music. Handel was
not only made to master the arts of counterpoint and fugue, but he was also
set to study the works of other composers, and to train his sense of style
by writing music in direct imitation of them. In those days there was
no possibility of buying all sorts of music ready printed. Printing was
expensive, and generally clumsy in execution as well; most music was copied
by hand, and a musician who wished to acquire a library of music generally
did so by borrowing it and copying it. Zachow employed Handel to copy music
for him, and no doubt he copied a great deal for himself. Although the
opportunities for hearing music would not be very liberal in a town like
Halle, Handel, under Zachow, became a well-read musician as well as an
accomplished one.

During the seventeenth century the chief contribution of Germany to the
art of music was religious, just as the German hymns were her chief
contribution to poetry. In Italy, on the other hand, sacred music was of
minor importance as compared with the development of opera. But in all
music Italy led the way, and German sacred music was constantly influenced
by the Italians, with the result that Italian dramatic methods were often
used by German composers of sacred music, not with any loss of seriousness
and dignity to its character, but rather to the intenser expression of that
deep personal religious feeling which characterised both the poetry and the
music of the Protestant nations.

Zachow was well acquainted with the Italian masters, and his own Church
music shows a vivid dramatic sense; it is easy to see how much Handel
learned from him. But although Church cantatas and organ music may have
sufficed for the majority of the innumerable worthy German musicians of
those days, the form of music which excited the curiosity and interest of
the livelier spirits was certainly opera. By 1700, opera had established
itself all over Italy, supported mainly by the great princes, but at Venice
maintained on a commercial basis by the citizens themselves since 1637. The
first attempt at a German opera was made by Heinrich Schütz, at Torgau,
ten years earlier. Vienna introduced Italian opera in 1631, and, generally
speaking, the Catholic princes of Germany, who one after another followed
the example of Vienna, preferred opera in Italian. Protestant Germany
inclined more to opera in its own language, though towards the end of the
century Italian gradually gained the upper hand at the more important
courts. Native German opera owed its origin partly to the visit of the
English comedians early in the century, and partly to the musical plays
acted by school-boys; from the English "jigs" came the use of short popular
songs, and from the school plays the tendency of the early German operas to
be of a more or less sacred or edifying character.

Handel's friend, the composer Telemann, tells us that it was not unusual
for students from the University of Leipzig to go to Berlin to hear the
Italian opera, which had been established by the Electress Sophia Charlotte
in 1700, and this suggests that Handel's visit to Berlin may have
taken place in 1703 rather than in his childhood. But he certainly had
opportunities for seeing operas nearer home. There had been many German
operas performed at Halle itself during the twenty years before Handel's
birth, and Duke Johann Adolf opened an opera-house at Weissenfels in 1685,
in which Philipp Krieger produced German operas regularly for the next
thirty years. There was thus every reason for young Handel's growing
ambitious to become a composer for the stage, although we have no evidence
of his having ever attempted dramatic composition until he left Halle in
1703.

The most important of all the north German opera-houses was that of
Hamburg, where the opera did not depend on the patronage of a court,
but was organised, as at Venice, as a public entertainment. Hamburg had
attempted German opera as early as 1648, and it is interesting to note that
the English composer William Brade was one of those who provided the music;
but the real history of the Hamburg opera may be said to begin with the
performance of Theile's _Adam and Eve_ in the newly built theatre in the
Goose-Market in 1678. When Handel arrived in Hamburg in the summer of 1703
the biblical operas had long come to an end, and the theatre was under the
management of Reinhold Keiser.

Keiser was a musician of remarkable genius. His father was a disreputable
organist, and his mother a young lady of noble family who had been hastily
married at the age of sixteen. Born near Weissenfels in 1674, he had begun
his operatic career at Brunswick at the age of eighteen; three years later
he took over the direction of the opera at Hamburg, where he produced a
large number of operas composed by himself. As a composer, Keiser had a
singular fluency of melody in a style that hovers between those of Germany
and Italy; had he been a man of more solid character he might have
accomplished greater things. But he had inherited from his parents a love
of pleasure and debauchery; extravagant in his private life, he was no less
extravagant in his theatrical management, and was ready to provide his
audiences with anything in the way of startling sensation. One of his most
famous operas was on the subject of Störtebeker, a notorious highwayman
(1704), in which murders were represented with the most disgusting realism.

Hamburg was the Venice of the north and, like Venice, a city of pleasure;
but its pleasures were often of a coarse and licentious description. Life
in Hamburg was probably not much unlike that of Restoration London; but
though Keiser may well be set beside Purcell, Hamburg had no dramatists to
compare with Congreve, hardly even with Shadwell. Jeremy Collier, however,
was far outdone in vituperation by the puritan clergy who, not altogether
without reason, castigated the immorality of the Hamburg stage.

Handel seems to have arrived in Hamburg in early summer of 1703, for we
first hear of him there on July 2, when he met Johann Mattheson in the
church of St. Mary Magdalen. It seems to have been a chance acquaintance,
to judge from Mattheson's account; it stuck in Mattheson's memory for many
years and he remembered especially the pastry-cook's boy who blew the organ
for Handel and himself. Mattheson was four years older than Handel; he was
one of those precociously gifted, versatile, attractive, and rather vain
young men who are endowed with so many talents that they never achieve
distinction in any branch of art. He is remembered now only by the literary
work of his later life, in which he shows himself as a voluminous pedant
and an embittered critic. He made friends with Handel on the spot, and took
him under his own protection, providing him with almost daily free meals
at his father's house. He evidently regarded him as a very simple and
provincial young musician, a notable organist indeed, and a master of such
learned devices as counterpoint and fugue, but a dull composer, turning out
endless arias and cantatas with no sense of the fashionable Italian taste.

It was Mattheson, by his own account, who introduced Handel to the musical
life of Hamburg. The opera was closed for the summer, and Keiser's
celebrated winter concerts, at which the wealthy society of Hamburg
listened to the most famous singers and regaled themselves with tokay, had
not yet begun; but there was no lack of social distractions, in which music
no doubt played its part. In August the two friends made a journey to
Lubeck, to compete for the post of organist at the Marienkirche in
succession to Dietrich Buxtehude, who was nearly seventy and ready to
retire. But both Buxtehude and the town council insisted that the new
organist should marry his predecessor's daughter, in order to save the town
the necessity of providing for her; she was considerably older than the
two youthful candidates, and they both withdrew in haste. Late in life
Mattheson married the daughter of an English clergyman; Handel remained a
bachelor to the end of his days.

It was no doubt through Mattheson that Handel, in the autumn, entered the
opera band as a humble second violinist. He seems to have been of a very
retiring and quiet disposition, although of a dry humour. Opera management
at Hamburg was no less precarious than it was in London; Keiser could
not afford the Italian singers patronised by the German princes, and his
performances had often to be helped out by amateurs of all classes. On one
occasion the harpsichord-player failed him; Handel took his place at
short notice, and his musicianship was at once recognised. Unfortunately
Mattheson, whose chronology is always rather uncertain, does not tell us
when this occurred. In addition to his duties in the orchestra, Handel
earned a living by teaching private pupils, and through Mattheson he was
engaged by Mr. John Wyche, the English Envoy, as music-master to his small
son Cyril.

Early in 1704 Mattheson went to Holland, where he had some success in
organising concerts at Amsterdam, and was offered the post of organist at
Haarlem. He seems to have had some idea of seeking his fortune in England;
he spoke English well, and may have had useful connexions in England
through Mr. John Wyche. But in March Handel wrote to him that the Hamburg
opera could not get on without him, and to Hamburg he returned. It soon
must have become clear to him that Handel was rapidly outgrowing any need
of his condescending patronage. A _Passion according to St. John_, the
words of which had been written by Postel, an opera-poet turned pietist,
had been set to music by Handel, and performed on Good Friday with marked
success. Mattheson arrived too late to hear it, but it is significant that
twenty years later he published a scathing criticism of it, although it is
a work of little importance in relation to Handel's complete career, and
can seldom have been performed. A Passion oratorio by Keiser was produced
at the same time, it may well have been that Handel's work, youthful and
conventional as it is, was enough to arouse the jealousy of both Keiser and
Mattheson.

Shortly after Easter, Keiser began the composition of a new opera,
_Almira_, on a libretto by the local poet Feustking, but for some reason or
other he found it necessary to call in Handel's assistance, and eventually
left the whole work to Handel to compose. It was to be produced in the
autumn. Handel seems to have consulted Mattheson over every detail of the
opera; there exists a complete score in Mattheson's handwriting, with
corrections and additions by Handel. Mattheson spent the summer enjoying a
country holiday in Mecklenburg; Handel probably went on with his opera,
at Hamburg. In October, just as the opera season was reopening, Mattheson
contrived to get himself engaged by Sir Cyril Wych as tutor to his son;
he also took over the boy's musical education, hinting that Handel
was dismissed for neglect of his duties. In view of Handel's strictly
honourable character it is difficult to believe that he was guilty of
neglect, and we may naturally suppose him to have resented the loss of a
lucrative appointment.

The first opera of the autumn was not Handel's _Almira_, but an opera by
Mattheson, called _Cleopatra_. Mattheson, always eager to exhibit his
versatility, sang the part of Antony himself, and, not content with that,
came into the orchestra as soon as Antony had died on the stage and kept
himself in view of the audience by conducting at the harpsichord. For
several performances Handel made no objection and gave up his seat to
Mattheson when the moment came, but on December 5, for some reason or
other, he refused, to the surprise and indignation of the composer. German
musicians in those days were a quarrelsome crew; at the court of Stuttgart
the musicians were so much given to knocking each other on the head with
their instruments, even in the august presence of His Serene Highness, that
there was hardly one left undamaged. It was only to be expected that the
friends of Handel and Mattheson should egg them on to fight a duel in the
street; luckily Mattheson's sword broke on a button of Handel's coat, and
the duel ended. On December 30 a town councillor effected a reconciliation;
the rivals dined together at Mattheson's house and went on to the rehearsal
of _Almira_, which was brought out on January 8, 1705, with Mattheson as
the principal tenor.

_Almira_, the libretto of which was partly in German and partly in Italian,
ran continuously for about twenty performances until February 25, when it
was succeeded by _Nero_, another opera which Handel had hastily composed
for the occasion. _Nero_, in which Mattheson sang the title part, was a
failure. The music is lost, but the libretto survives, and that is enough
to account for the collapse. The opera had three performances only. In the
very same season Keiser re-set _Nero_ to music himself, and brought it
out under the title of _Octavia_; shortly afterwards he did the same with
_Almira_, which was performed in August of the same year. Although Keiser's
operas were no more successful than Handel's, and his extravagance and
mismanagement forced him to leave Hamburg for three years in order to avoid
imprisonment, it is evident that he had made Handel's position in the
theatre impossible. Handel withdrew into private life and devoted himself
to earning a living by teaching. Mattheson says that Handel remained in
Hamburg until 1709, and that he still worked in the theatre, but the first
of these statements is certainly untrue, and the second probably so.
Mattheson himself left the theatre after the failure of Handel's _Nero_,
and his friendship with Handel seems to have come to an end. About Handel's
subsequent life in Hamburg we know nothing, until the theatre was taken
over by one Saurbrey in the autumn of 1706. Saurbrey commissioned an opera
from Handel, but, owing to the confusion in which Keiser had left the
affairs of the theatre, it could not be brought out until January 1708,
when it was found to be so long that it had to be divided into two operas,
_Florindo_ and _Daphne_, both of which were put on the stage successively.
By that time Handel had left Hamburg for Italy; he evidently took little
interest in the production of these works, neither of which has survived.

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