Handel

HANDEL, George Frederick (properly GEORG FRIEDRICH HAENDEL), English composer: b. Halle, Saxony, 23 Feb. 1685; d.' London, 20 April 1759. His father, intending him for the law, discouraged the strong passion which he evinced early in life for music. But although forbidden the use of musical instruments, he contrived to hide a small clavichord in a gar ret, where he amused himself during the night after the rest of the family had retired, and made such progress that, when at seven he ac companied his father to the court of Saxe Weissenfels, he played on the church organ with such power and effect that the Duke, who accidentally witnessed his performance, used his influence the father to permit him to follow his inclination. He was accordingly placed under Zachau, organist of the cathedral, and was soon so far advanced in the practical part of the science as to officiate as deputy to his instructor. At 14 he went to Berlin, where the opera under the direction of Buononcini and Attilio was then in a very flourishing condition. Attilio became his teacher and friend. In 1703 he went to Hamburg, and procured an engagement in the orchestra at the opera there. On 30 Dec. 1704, he brought out his first opera, ; in the February fol lowing, this was succeeded by his (Nero' and subsequently by and and in celebration of the peace. But this act was so distasteful to the Elector of Hanover that Handel did not ven ture to return, and remained in England on an income of 1200 a year allowed him by the queen. He was, in consequence, on the acces sion of his royal patron to the throne of Great Britain in 1714, in much disgrace, till Baron Kielmannseck restored him to favor. From 1715-18 Handel resided with the Earl of Bur lington, and then quitted that nobleman for the service of the Duke of Chandos, who retained him as chapelmaster to the splendid choir es tablished at his seat at Cannons. For the serv ice of this magnificent chapel Handel pro duced those anthems and organ fugues which alone would have been sufficient to immortalize him. When the Royal Academy of Music was instituted by some of the leading noblemen of England, Handel, whose fame had now reached its height, was placed at its head; and this, for a short period, may be considered as the most splendid era of music in England. The warmth of his own temper, however, excited by the arrogance and caprice of some of his principal Italian singers, caused many violent quarrels; and public opinion becoming enlisted in favor of his opponents, and especially of his rival, the musician Buononcini, his popularity waned somewhat and the academy was dissolved (1728). Handel then started a new operatic

company. But a rival company to his was afterward started, and the result was that much money was lost by both. The operas which he had composed up to this date (1735), from the institution of the Academy of Music, were • (Otione' ; Cesare' ; ridante - Tamerlan0 ; (Rodelindo' ; 'Alessandro' ; (Scipione ; 'Ricardo ; (Tolo meo) ; (LotariO ; 'Pa r& ; 'Orlando' ; 'Sosarme); ; (Ariodant0 ; and Among other works should be mentioned his first Eng lish oratorio, 'Esther,' and his delightful pas toral 'Acis and Galatea.' In 1736 his famous setting of Dryden's ode, 'Alexander's Feast,' was performed with brilliant success. His last opera was performed in 1741. Handel had by this time begun to devote himself chiefly to music of a serious nature, especially the orato rio. The approval which his first works of this kind 'Esther,' 'Deborah' (1723), 'Atha lia) (1733), had met with encouraged him to new efforts; and he produced in succession 'Saul,' 'Israel in Egypt,' and 'The Messiah.' The last-mentioned, his chief work, was brought out at Dublin in 1742. This sublime composition had been composed the previous year in the incredibly short period of 23 days. When Handel returned to London his oratorios were received at Covent Garden Theatre with the greatest approbation by overflowing audi ences — 'The Messiah' in particular increased yearly in reputation. Before it was given, however, a new oratorio, 'Samson,' was pro duced (1743), and there next followed 'Joseph and his Brethren' (1744), 'Belshazzar' (1745), 'Judas Maccabmus) (1747), 'Joshua'(1748), 'Solomon' (1749) and (1752). Some time before his death he was afflicted by nearly total blindness; but he continued not only to perform in public but even to compose. His own air, however, 'Total Eclipse,' from the oratorio of 'Samson,' is said always to have affected and agitated him extremely after the loss of his sight.

Handel's habits of life were regular; his appetites were coarse, his person large and un gainly, his manners rough and his temper even violent; but his heart was humane, and his dis position liberal. His 'musical powers can hardly be estimated too highly. In boldness and strength of style, and in the combination of vigor, spirit and invention in his instrumental compositions he has never been surpassed. His choruses have a grandeur and sublimity which have hardly been equaled. Yet a singular fact in regard to him as a musician is that in some of his works he shows himself as an unscrupu lous plagiarist — a fact of which various expla nations and palliation have been attempted. He was buried in Westminster Abbey, where a monument by Roubillac was erected to his memory. Consult 'Lives' by Chrysander (1858-67) ; and Rockstro (1883) ; Whitting ham, 'Life and Works of Handel' (1882); Rolland, R., Streatfield, R. A., 'Handel' (London 1909) ; the articles in the 'Dictionary of National Biography' and Grove's 'Dictionary of Music.'