In 1710 this great musician first arrived in London, and was soon honoured by the notice of Queen Anne. Aaron Hill, thee manager of the opera, having formed a drama from Tasso's `Gerusalemtne Liberata,' which Rolli worked into an opera under the title of 'Rinaldo,' Handel set musio to it, and it was produced in March 1711. He then returned to Hanover; but the attractions of London brought him back the following year to this metropolis, which thenceforward became his home. At the peace of Utrecht he, by the queen's command, corn ' posed a Te Daum' and 'Jubilate,' for the rejoicings on that event. A pension of 2C01. was the reward of this service. His promise to return to Hanover was now either forgotten or its fulfilment delayed ; and when in 1714 the unexpected demise of Queen Anne placed the Elector of Hanover on the British throne, Handel, taken by surprise and conscious of having offended his patron, did not dare present himself at oourt. But his friend Baron ICilmansegge, having contrived that he should meet the king, during a royal excursion on the Thames, with a band of wind-instruments. playing the charming ' Water-Music,' written for the occasion, the composer was again received Into favour, and never after lost the royal protection. His pension was immedi ately doubled ; and many years after, when appointed to teach the princesses, Queen Caroline, consort of George IL, added another 2001. to the former grants; making altogether 600/. per annum, no small locome at that period. From 1715 to 1718 Handel was an inmate in the house of the Earl of Burlington, where he constantly met Pope, whose regard for the German composer is manifest from all he said and wrote concerning him. During the same period he produced three operas, 'Amadis," Teseo,' and 'Il l'astor besides several detached pieces. In 1718 he undertook the direction of the Duke of Chandos's chapel at Cannons, for which he composed many fine anthems. Ho there also produced moat of his concertos, sonatas, lessons, and organ fugues; his 'Ads and Galatea,' for which Gay furnished him with the poetry ; and the oratorio of 'Esther.' The busiest, but not the most fortunate, period of Handel's life now arrived. The English nobility funned a project for converting the Italian theatre iuto an Academy of Music, a title borrowed from the French, and engaged Handel as manager, with a condition that he should supply a certain number of operas. In consequence, ho went to Dresden to engage singers, among whom was Senesino. His first opera was 'Radaminto,' the success of which was unparalleled. But Bononcini and Ariosti, before alluded to, had been attached in some measure to the theatre; and having powerful friends, opposed them selves to the German intruder, as they insolently called the great composer. Hence those feuds, among the weak people of fashion, of which the remembrance is perpetuated by Swift's well-known epigram. To calm these it was proposed that an opera in three acts should be produced, and that each of the contending composers should set one act. The drama chosen was 'Merle Scevola.' Handel's portion was declared the best ; "but, strange to say, though each no doubt strained his ability to the utmost in this struggle, not a single piece in the whole opera is known in the present day I" Handel now, master of the field, produced about fifteen new operas ; but that spirit of cabal often caused and always encouraged by the weak, that is the larger, part of the ranks of fashion, compelled the great composer and able manager to retire from the theatre in 1726 with the loss of 10,0001., and a constitution much damaged by incessant labour and constant turmoiL A slight paralytic affection was the consequence, which however the bathe of Aix.la-Chapelle removed. He then made an attempt to give operas at Covent Garden Theatre, but this proved equally mortifying and unprofitable. However the vexations and losses he encountered at the Italian Theatre ultimately led to the advancement of his fame and the repair of his fortnne. He now announced performances during the Lent season, in imitation of the Concerto Spirituale, which he called oratorios, and at Covent Garden gave several, most of them composed fur the occasion. Still the receipts at these did not indemnify him for the expenses he incurred: even his subliinest work, ' The Messiah,' was as ill attended as received In the capital of the empire, when first produced in 1741.
These failures were imputed, and justly, to the hostility of the nobility, who, notwithstanding the nnvaried patronage of the royal family, still pursued him with unabated rigour. From such persecution he determined to seek refuge in Ireland, then noted for the gaiety and splendour of its court—a circumstance to which Pope alludes in a weliknowu appeal to the Goddess of Dullness.
"On his arrival in Dublin," says Dr. Burney, in his 'Commemoration of Handel,' "lie, with equal judgment and humauity, began by per forming 'The Messiah' for the benefit of the city prison." He remained in Ireland about nine months, and had every reason to be satisfied with his visit. Returning to London in 1742, ho renewed his oratorios at Covent Garden Theatre, beginning with ' Samson.' From this time success attended all his undertakings. His last work drew crowds to the house, and 'The Messiah' was equally attractive. The latter was, during a long period, performed annually at the Foundling lospital, and alone added 10,3001. to the funds of that institution. It is neat to impossible to calculate what it has produced to other charities; the amount must bo prodigious, while it has been a never ceasing stream of prosperity to the musical profession, and of enjoy ment to the musical public'. Ile continued his oratorios to nearly the last day of his life,• deriving considerable pecuniary advantage from them ; for though still opposed by most of the nobility, the king (George IL) and the people actively supported him.
Late In life Handel was afflicted with blindness; he nevertheless continned to conduct his oratorios, and, as usual, performed concertos and other organ pieces between the acts. He even composed, employ ing as his amanuensis Mr. John Chrhtian Smith, and assisted at one of his oratorios a week only before his decease, which took place on a Good Friday (according to bis wish, it is said), April 13th, 1759. lie was buried in Poets' Corner, Westminster Abbey, where a monument by Roubilliae is erected to his memory. A still more bonountble tribute was In the year 1784 paid to his memory, by giving a series of performances in the great fano within which his remains were interred. A century having elapsed from the time of his birth, it was resolved that a 'Commemoration of Handel' should take place. The management was entrusted to the directors of the Ancient Concerts, and eight of the most distinguished members of the musical profession. The king, George III., zealously patronised the undertaking, and nearly all the upper classes of the kingdom seconded the royal views. The receipts at five performances amounted to the sum of 12,7361., the disbursements to rather more than 60001.; of the profits, 1000/. was given to the Westminster Hospital, and the remainder to the Society for Decayed Musicians. It is primes right to be added, the inhabit ants of Halle, his native town, are already making preparations for a centenary festival to be held in honour of him there In 1859 (the 100th anniversary of his death), the proceeds to be applied to the erection of a statue of him at Hallo.
Handel was great in every style : in sacred mimic, especially of the choral kind, ho not only throws at an immeasurable distance all who preceded and followed him, but reaches that sublimity which, it is now almost universally admitted, the art is so capable of attaining. Till within the last few years his works were unknown out of the British Isles; now they are heard with admiration in every part of Germany, in France, iu Russia, and iu the United States. The glory of Handel indeed, unlike that of many another great composer, appears still to increase with the lapse of time, and to be scarcely even temporarily eclipsed by the perversities of fashion.
It is worthy of remark, especially as an evidence that the intellectual powers do not necessarily decay in proportion to the diminution of bodily activity, that most of Handel's greatest works were composed when he was between fifty-four and sixty-seven years of age. 'Jephthah' was produced at the latest moment of that period: And here we may in passing observe, that the finest offsprings of Ilaydu's genius had their birth after he had become a sexagenarian.
In the Queen's library are the original manuscripts of nearly all Handere works, filling 82 large folio volumes. These include 32 Italian operas, 23 oratorios, 8 volumes of anthems, 4 of cantatas, 3 of Te Deums, and a Jubilate, together with concertos, sonatas, &c. Not in the royal collection are 11 operas, harpsichord lessons, fugues, organ concertos, water-music, &c. &c. Of the oratorios, 'Deborah' was first performed iu 1783, 'Israel in Egypt' in 1738, 'Saul' in 1740, 'Messiah' in 1741, Samson' in 1742, 'Judas Maecabrous ' in 1746, 'Joshua' in 1747, 'Solomon' in 1749, and 'Jephthah' in 1751.