HANDEL (George Frederic), a most eminent master and composer of music, was born at Hall, a city of Upper Saxony in Germany. His father was a physician and surgeon of that place, and was upwards of 60 years of age when Handel was born. During his infancy young Handel is said to have amused himself with musical instruments, and to have made considerable progress before he was seven years of age, without any instructions. His propensity for music at last became so strong, that his father, who designed him for the study of the civil law, thought proper to forbid him,
him, even at this early period of life, to touch a musical instrument, and would suffer none to remain in his house. Notwithstanding this prohibition, however, Handel found means to get a little clavichord privately conveyed to a room in the uppermost story of the house, to which room he constantly stole when the family were asleep; and thus made such advances in his art, as enabled him to play on the harpsichord. He was first taken notice of by the duke of Saxe Weissenfels on the following occasion. His father went to pay a visit to another son by a former wife, who was valet de chambre to the duke, and resided at his court. Young Handel, being then in his seventh year, earnestly desired permission to go along with him; but being refused, he followed the chaise on foot, and overtook it, the carriage being probably retarded by the roughness of the way. His father at first chid him for his disobedience, but at last took him into the chaise along with him. While he was in the duke's court, he still continued to shew the same inclination for music: it was impossible to keep him from harpsichords; and he used sometimes to get into the organ-lost at church, and play after service was over. On one of these occasions, the duke happening to go out later than usual, found something so uncommon in Handel's manner of playing, that he inquired of his valet who it was; and receiving for answer that it was his brother, he desired to see him. This nobleman was so much taken with the musical genius shewn by young Handel, that he persuaded his father to let him follow the bent of his inclination. He made the boy a present; and told him, that if he minded his studies, no encouragement should be wanting.
On his return to Hall, Handel was placed under one Zackaw, the organist of the cathedral church; and our young musician was even then able to supply his master's place in his absence. At nine years of age he began to compose church-services for voices and instruments, and continued to compose one such service every week for three years successively. At the age of 14, he far exceeded his master, as he himself owned; and he was sent to Berlin, where he had a relation in some place about the court, on whose care and fidelity his parents could rely. The opera was then in a flourishing condition, being encouraged by the grandfather of the present king of Prussia, and under the direction of many eminent persons from Italy, among whom were Buononcini and Attilio. Buononcini, being of a haughty disposition, treated Handel with contempt; but Attilio behaved to him with great kindness, and he profited much by his instructions. His abilities soon recommended him to the king, who frequently made him presents, and at last proposed to send him into Italy under his own patronage, and to take him under his immediate protection as soon as his studies should be completed. But Handel's parents not thinking proper to submit their child to the caprice of the king, declined the offer; upon which it became necessary for him to return to Hall.
Handel having now obtained ideas in music far exceeding every thing that could be found in Hall, continued there very unwillingly, and it was resolved to send him into Italy: but as the expence of this journey could not then be spared, he went to Hamburg, where the opera was little inferior to that of Berlin. Soon
after his arrival in this city, his father died; and his mother being left in narrow circumstances, her son thought it necessary to procure some scholars, and to accept a place in the orchestra, by which means, instead of being a burden, he became a great relief to her.
At this time, the first harpsichord in Hamburg was played by one Kefer, a man who also excelled in composition; but he, having involved himself in some debts, was obliged to abscond. Upon this vacancy, the person who had been used to play the second harpsichord claimed the first by right of succession: but he was opposed by Handel, who founded a claim to the first harpsichord upon his superior abilities. After much dispute, in which all who supported or directed the opera engaged with much vehemence, it was decided in favour of Handel; but this good success had almost cost him his life. His antagonist resented the supposed affront so much, that, as they were coming out of the orchestra together, he made a push at Handel's breast with a sword; which must undoubtedly have killed him, had there not fortunately been a music-book in the bosom of his coat.
Handel, though yet but in his 15th year, became composer to the house; and the success of Almeria, his first opera, was so great, that it ran 30 nights without interruption. Within less than a twelvemonth after this, he set two others, called Florinda and Norene, which were received with the same applause. During his stay here, which was about four or five years, he also composed a considerable number of sonatas, which are now lost. Here his abilities procured him the acquaintance of many persons of note, particularly the prince of Tuscany, brother to John-Gaston de Medici the grand duke. This prince pressed him to go with him to Italy, where he assured him that no convenience should be wanting; but this offer Handel thought proper to decline, being resolved not to give up his independency for any advantage that could be offered him.
In the 19th year of his age, Handel took a journey to Italy on his own bottom; where he was received with the greatest kindness by the prince of Tuscany, and had at all times access to the palace of the grand duke. His Serene Highness was impatient to have something composed by so great a master; and notwithstanding the difference between the style of the Italian music and the German, to which Handel had hitherto been accustomed, he set an opera called Rodriga, which pleased so well, that he was rewarded with 100 sequins, and a service of plate. After staying about a year in Florence, he went to Venice, where he is said to have been first discovered at a masquerade. He was playing on a harpsichord in his visor, when Scarlatti, a famous performer, cried out, that the person who played could be none but the famous Saxon or the devil. But a story similar to this is reported of many eminent persons whose abilities have been discovered in disguise. Here he composed his opera called Agrippina, which was performed 27 nights successively, with the most extravagant applause.
From Venice, our musician proceeded to Rome, where he became acquainted with cardinal Ottoboni and many other dignitaries of the church, by which means he was frequently attacked on account of his religion; but Handel declared he would live and die in the
Handel. the religion in which he had been educated, whether it was true or false. Here he composed an oratorio called Resurrexio, and 150 cantatas, besides some sonatas, and other music. Ottoboni also contrived to have a trial of skill between him and Dominici Scarlatti, who was considered as the greatest master on that instrument in Italy. The event is differently reported. Some say that Scarlatti was victorious, and others give the victory to Handel; but when they came to the organ, Scarlatti himself ascribed the superiority to Handel.
From Rome, Handel went to Naples; after which, he paid a second visit to Florence; and at last, having spent six years in Italy, set out for his native country. In his way thither, he was introduced at the court of Hanover with so much advantage by the baron Kilmanseck, that his Electoral Highness offered him a pension of 1500 crowns a-year as an inducement for him to continue there. This generous offer he declined on account of his having promised to visit the court of the Elector Palatine, and likewise to come over to England in compliance with the repeated invitations of the duke of Manchester. The elector, however, being made acquainted with this objection, generously ordered him to be told, that his acceptance of the pension should neither restrain him from his promise nor resolution; but that he should be at full liberty to be absent a year or more if he chose it, and to go wherever he thought fit. Soon after, the place of master of the chapel was bestowed upon Handel; and our musician having visited his mother, who was now extremely old and blind, his old master Zuckaw, and staid some time at the court of the Elector Palatine, set out for England, where he arrived in 1710.
At that time operas were a new entertainment in England, and were conducted in a very absurd manner: but Handel soon put them on a better footing; and set a drama called Rinaldo, which was performed with uncommon success. Having staid a year in England, he returned to Hanover; but in 1712 he again came over to England; and the peace of Utrecht being concluded a few months afterwards, he composed a grand Te Deum and Psalms on the occasion. He now found the nobility very desirous that he should resume the direction of the opera house in the Hay-market; and the queen having added her authority to their solicitations, and conferred on him a pension of L. 200 a-year, he forgot his engagements to the elector of Hanover, and remained in Britain till the death of the queen in 1714. On the arrival of king Geo. I. Handel, conscious of his ill behaviour, durst not appear at court; but he was extricated from his dilemma by the baron Kilmanseck. Having engaged several of the English nobility in his behalf, the baron persuaded the king to a party of pleasure on the water. Handel was apprised of the design, and ordered to prepare some music for the occasion. This he executed with the utmost attention, and on the day appointed it was performed and conducted by himself. The king with pleasure and surprise inquired whose it was, and how the entertainment came to be provided without his knowledge. The baron then produced the delinquent; and asked leave to present him to his Majesty as one too sensible of his fault to attempt an excuse, but sincerely desirous to atone for it. This
intercession was accepted, Handel was restored to favour, his water-music was honoured with the highest approbation, and the king added a pension of L. 200 a-year to that formerly bestowed on him by queen Anne; which he soon after increased to L. 400, on his being appointed to teach the young princesses music.
In the year 1715, Handel composed his opera of Amadige; but from that time to the year 1720 he composed only Teseo and Pastor Fido, Buononcini and Attilio being then composers for the operas. About this time a project was formed by the nobility for erecting a kind of academy at the Hay-market, with a view of securing to themselves a constant supply of operas to be composed by Handel, and performed under his direction. No less than L. 50,000 was subscribed for this scheme, of which the king himself subscribed L. 1000, and it was proposed to continue the undertaking for 14 years. Handel went over to Dresden in order to engage singers, and returned with Senefino and Duristanti. Buononcini and Attilio had still a strong party in their favour, but not equal to that of Handel; and therefore in 1720 he obtained leave to perform his opera of Radamisto. The house was so crowded, that many fainted through excessive heat; and forty shillings were offered by some for a seat in the gallery, after having in vain attempted to get one elsewhere. The contention, however, still ran very high between Handel's party and that of the two Italian masters; and at last it was determined that the rivals should be jointly employed in making an opera, in which each should take a distinct act, and he who by the general suffrage was allowed to have given the best proof of his abilities should be put in possession of the house. This opera was called Mazio Scavola, and Handel set the last act. It is said that Handel's superiority was owned even in the overture before it; but when the act came to be performed, there remained no pretence of doubt or dispute. The academy was now therefore firmly established, and Handel conducted it for nine years with great success; but about that time an irreconcilable enmity took place between Handel himself and Senefino. Senefino accused Handel of tyranny, and Handel accused Senefino of rebellion. The merits of the quarrel are not known: the nobility, however, became mediators for some time; and having failed in that good design, they became parties in the quarrel. Handel was resolved to dismiss Senefino, and the nobility seemed also resolved not to permit him to do so. The haughtiness of Handel's temper would not allow him to yield, and the affair ended in the total dissolution of the academy.
Handel now found that his abilities, great as they were, could not support him against the powerful opposition he met with. After the dismissal of Senefino, his audience insensibly dwindled away, and Handel entered into an agreement with Mr Keidegger to carry on operas in conjunction with him. New singers were engaged from Italy; but the offended nobility raised a subscription against him, to carry on operas in the play-house in Lincoln's-Inn fields. Handel bore up four years against this opposition; three in partnership with Keidegger, and one by himself: but though his musical abilities were superior to those of his antagonists, the astonishing powers of the voice of Farinelli, whom the opposite party had engaged, determined the victory.
Handel. tory against him. At last Handel, having spent all he was worth in a fruitless opposition, thought proper to desist. His disappointment had such an effect upon him, that for some time he was disordered in his understanding, and at the same time his right arm was rendered useless by a stroke of the palsy. In this deplorable situation, it was thought necessary that he should go to the baths of Aix-la-Chapelle; and from them he received such extraordinary and sudden relief, that his cure was looked upon by the nuns as miraculous.
In 1736, Handel again returned to England; and soon after his return his Alexander's feast was performed with applause at Covent-Garden. The success and splendor of the Hay-market was by this time so much reduced by repeated mismanagements, that lord Midlesex undertook the direction of it himself, and once more applied to Handel for composition. He accordingly composed two operas called Faromondo, and Alessandro Severo, for which in 1737 he received L. 1000. In 1738 he received L. 1500 from a single benefit, and nothing seemed wanting to retrieve his affairs, excepting such concessions on his part as his opponents had a right to expect. These concessions, however, he could not be prevailed upon to make; and that he might no longer be under obligations to act as he was directed by others, he refused to enter into any engagements upon subscription. After having tried a few more operas at Covent-Garden without success, he introduced another species of music called oratorios, which he thought better suited to the native gravity of an English audience. But as the subjects of these pieces were always taken from sacred history, it was by some thought to be a profanation to set them to music and perform them at a playhouse. In consequence of this prejudice, the oratorios met with very indifferent success; and in 1741 Mr Handel found his affairs in such a bad situation, that he was obliged to quit England, and go to Dublin.
He was received in Ireland in a manner suitable to his great merit; and his performing his oratorio called the Messiah, for the benefit of the city-prison, brought him into universal favour. In nine months time he had brought his affairs into a better situation; and on his return to England in 1742, he found the public much more favourably disposed. His oratorios were now performed with great applause: his Messiah, which before had been but coldly received, became a favourite performance; and Handel, with a generous humanity, determined to perform it annually for the benefit of the foundling hospital, which at that time was only supported by private benefactions. In 1743, he had a return of his paralytic disorder; and in 1751 became quite blind by a gutta serena in his eyes. This last misfortune for some time sunk him into the deepest despondency; but at last he was obliged to acquiesce in his situation, after having without any relief undergone some very painful operations. Finding it now impossible to manage his oratorios alone, he was assisted by Mr Smith, who at his request frequently played for him, and conducted them in his stead; and with this assistance they were continued till within eight days of his death. During the latter part of his life, his mind was often disordered; yet at times it appears to have resumed its full vigour, and he composed several songs, choruses, &c. which from their dates may
be considered almost as the last sounds of his dying voice. From about October 1758 his health declined very fast; his appetite, which had been remarkably keen, and which he had gratified to a great degree, left him; and he became sensible of the approach of death. On the 6th of April 1759, his last oratorio was performed, at which he was present, and died on the 14th of the same month. On the 20th he was buried by the right reverend Dr Pearce, bishop of Rochester, in Westminster abbey; where, by his own order, and at his own expence, a monument was erected to his memory.
With regard to the character of this most eminent musician, he is universally allowed to have been a great epicure. In his temper he was very haughty, but was seldom or never guilty of mean actions. His pride was uniform; he was not by turns a tyrant and a slave. He appears to have had a most extravagant love for liberty and independence; inasmuch, that he would, for the sake of liberty, do things otherwise the most prejudicial to his own interest. Nay, so far is he said to have carried this principle, that, merely for the sake of preserving his independence, he often refused the highest favours from the ladies; though others ascribe this to a very different cause. Certain it is, that he never shewed the least attachment to the fair sex. He was liberal even when poor, and remembered his former friends when he was rich. His musical powers can perhaps be best expressed by Arbuthnot's reply to Pope, who seriously asked his opinion of him as a musician; "Conceive (said he) the highest you can of his abilities, and they are much beyond any thing you can conceive."