SKETCH OF THE LIFE OF HANDEL. GEORGE FREDERICK HANDEL, born on the 24th of February, 1684, was the son of an eminent physician at Halle in the duchy of Magdeburgh, and circle of Lower Saxony. In early childhood his passion for music was so ardent, that in violation of his father's commands he used to practise by stealth on an old clavichord,* which stood in a distant apartment of the house; and before he was seven years of age, he had made considerable progress by the mere force of talent without the aid of instruction. His father, finding it impossible to subdue the strength of this propensity, had the good sense to yield to it, and thus permitted the world to listen to the strains of a most eloquent composer instead of the effusions of a pleader in one of the petty courts of Germany. He was placed under the tuition of Zacchau, organist of the cathedral, with whom his improvement was surprisingly rapid. At the age of nine years, he officiated at the or gan, and had composed several very creditable cantatas; and at ten he was the author of a set of sonatas in three parts, or, as we should now term them, trios. At the age of fourteen, Handel visited Berlin, where music was then much cultivated, and where his premature abilities could not fail to attract notice. He however soon returned to the place of his birth, and continued to reside there for some years, imbibing abundantly and rapidly the se. crets of fine composition from the works of the German and Italian Masters, yet forming a style peculiarly his own, and daily improving in his performance on the organ. After his father's death, having attained the age of eighteen or twenty, he fixed on Hamburg for his future residence, the Italian Opera being then in high perfection at that city. He entered the Orchestra as second repiano violin; but having been one evening requested to supply the place of the harpsichord player, who was accidentally absent, the superiority of his execution was such as to procure for him the most marked applause, and an immediate advancement of situation. This unexpected discovery of talent had nearly cost Handel his life. A rival musician, who thought himself slighted in the occasional elevation of his colleague, waited for him on his return from the opera, and actually made a pass at him with his * An ancient instrument, the tone of which is so muffled as scarcely to be audible except in its immediate vicinity. An instrument nearly resembling it was used by Queen Elizabeth, and in compliment to her obtained in England the name of Virginal. It may seem extraordinary that the famous Bach of Hamburg generally chose to exhibit his extemporaneous effusions on a clavichord. sword. The score of an opera which Handel had fortunately buttoned under his coat received the point of the assassin's weapon, and thus frustrated his purpose. After this incident he was chosen composer to the opera, and his early productions, Almira, Florinda, and Nerone, were first performed on the Hamburgh stage. The few years which he spent in that city widely extended his reputation. In consequence of an invitation from the Prince of Tuscany, brother to the Grand Duke, whose notice he had attracted at Hamburgh, he visited Florence. While there, he produced the opera of Roderigo, the merits of which the Duke rewarded with a hundred sequins and a service of plate. In the following year he went to Venice and produced his Agrippina, which was honoured by a run of twenty seven successive nights. His next visit was to Rome, where he became acquainted, at Cardinal Ottoboni's, with Corelli and Alessandro Scarlatti. He composed while at Rome Il Trionfo del Tempo. and subsequently while on a visit at Naples, the Acige é Galatea. This last production is said by some of the critics to have been the basis of the serenata on the same subject which he afterwards published in England, but a comparison of the pieces does not establish this position with any degree of certainty. At Naples, as well as at Rome and the other cities through which he passed while in Italy, he received the most flattering honours from the noble and the distinguished. After a six years absence he returned to Germany, and in 1710 proceeded to Hanover; where the Elector, afterwards George I. of England, wishing to retain in his dominions one so highly gifted and by this time so much celebrated, settled on Handel a pension of fifteen hundred crowns per annum. Having, however, obtained leave of absence for one year, he visited his aged mother and his early preceptor at Halle, and subsequently arrived at London. His reception in this metropolis was as gratifying to himself as it was honourable to the nation. While at London he composed his Rinaldo, which is said, in the preface, to have been set to music in a fortnight. The success of this opera, which introduced a new style of music, at once melodious, nervous, and learned, corresponded with the high expectations which had been raised by the fame of the composer.* Queen Anne wished to retain Handel in England, but his parole had expired, and he returned to Hanover. In consequence of the very pressing invitations which he received from the nobility and gentry of England, he again in 1712 obtained leave of absence from the Elector, pledging himself to return within a given time: but the applause which was lavished on him by the monarch and nobles, and the distinctions which were conferred on him by every one, not only tempted him to forget his pledge, but by another incident to hazard the displeasure of his patron. On the conclusion of the peace of Utrecht, Queen Anne ordered a public thanksgiving at St. Paul's Cathedral. Handel composed for the occasion a Te Deum and Jubilate, with such force, regularity, and instrumental effect as had not before been heard in England. The Queen was highly pleased and rewarded the composer with a pension of two hundred pounds Unfortunately for Handel, the Elector considered the peace detrimental to his interests; and when in 1714 he arrived in London as the successor of Queen Anne, Handel, conscious of his want of respect to his former benefactor, did not venture to court, to welcome his accession to the throne. But having, at the suggestion of a noble friend, composed the music for a serenadef which was performed in It was subsequently revived in 1712, 1717, and 1731. fA portion of this is published and in general circulation, under the title of "Handel's Water Music:" it was a favourite harpsichord piece with the uncles and great-uncles and aunts and great-aunts of the present generation. an accompanying barge, while the king was with a party of pleasure on the water, the monarch's admiration was excited; and finding, on enquiry, that the composer was Handel, who had taken this mode of evincing his regret for his former ingratitude, he immediately restored him to favour and settled on him an additional pension of two hundred pounds. From 1715 to 1718 much of Handel's time was passed at the Earl of Burlington's, an eminent patron of the art and a munificent as well as a kind friend to its professors. At the table of this nobleman he became acquainted with Pope, Gay, and Arbuthnot. Pope eulogised him in his poems,-Gay wrote the words of his Acis and Galatea and Dr. Arbuthnot, who was a great amateur of music as well as a respectable composer, became his literary champion on all occasions which required the aid of his pen. The two following years he was conductor of the music at the household chapel at Cannons, the splendid residence of Bridges, Duke of Chandos. Here he wrote most of his anthems and several of his instrumental pieces. Here too he composed his first oratorio Esther.* In 1720, a subscription was made by the King and some of the principal nobility, for the performance of Italian operas, and a noble edifice was in consequence erected in the Haymarket for that purpose. While connected with this establishment, to which he was originally appointed composer and conductor, he composed, between the years 1721 and 1740, thirty operas, and established his fame beyond competition. Yet it is painful to dwell on this part of his life. Handel unfortunately involved himself in the pecuniary concerns of the Opera-house. A powerful opposition, headed by the Duke of Marlborough, was formed against him, and Bononcini was chosen as his competitor. This individual was undoubtedly a fine musician and an excellent composer, but very far inferior to the sublime genius he endeavoured to rival. Such has certainly been the judgment of posterity, for while the works of one author have been constantly performed, and are still going through new editions, those of the other have long been forgotten. The contest however was violent and protracted, and the result was ruinous to Handel, both as to his health and his fortune. A visit to the baths of Aix-la-Chapelle restored his broken constitution, but all the savings of his previous life were exhausted in the discharge of debts accumulated by this speculation. Bononcini and Attilio composed for the Haymarket Theatre during the time of their rivalry with Handel. Some of the friends of the parties submitted their merits to a singular test. A subject was chosen for an opera, and lots were drawn to decide which should compose the 1st, 2d, and 3d, acts. Those who know the character of Handel's music would at once select the conclusion of the 1st act as the part in which he would have excelled. But fate had determined to give him a sterner trial, and he set about composing the concluding act. After a while the opera was performed: it was Muzio Scævola. The audience, which was very numerous, listened with * Perhaps no musical historian has mentioned, that some thirty years ago, a commemoration of Handel was held in this very chapel, where he formerly presided as maestro di capella, and where he imagined the first English oratorio; and which, after the death of the Duke of Chandos, was converted to the use of a church, for the parish of Stanmere. It was directed by Doctors Arnold and Dupuis. The band was comparatively small, being limited by the size of the building, but every part was completely filled. Cramer was the leader, Dr. Arnold the organist, Madam Storace, Mrs. Crouch, Messrs. Kelly and Rheinhold the principal vocalists. The choristers and instrumentalists were all of them selected with much care. A more efficient orchestra was perhaps never assembled, and the character of the whole performance was perfectly in unison with the emotions which the location alone could not fail to produce. B. C. honest attention to the compositions of Bononcini and Attilio; it even applauded liberally but before the piece concluded, the unanimous sentiinent declared itself for Handel. This judgment of the critics of that day has been supported by the united voice of their successors. In the year 1732, Handel had the honour of introducing the Oratorio to the attention of the British public, by the performance of his Esther. The success of this composition induced him to prepare others of the same character. Acis and Galatea soon followed; the Messiah was produced in 1741, after which Handel seems to have devoted himself almost exclusively to the Oratorio. It is not a solitary proof of the doubtful correctness of popular applause, that "the Messiah" was at first listened to with coldness and hesitating praise. The honour of having first appreciated this sublimest of human compositions, is due to Ireland, which Handel visited in 1741. The King, George I, seems indeed to have been a kinder critic than his subjects of the great metropolis; for when the Grand Hallelujah chorus was first performed, struck with its grandeur and sublimity, he rose and remained standing till its conclusion. The audience, of course, followed his example; and since that time, a similar mark of respect is always exhibited by the English public during the performance of a Hallelujah. During the latter years of his life, Handel, like Homer and Milton, was afflicted with blindness. Still, he continued his oratorios, and played concertos and voluntaries between the parts, with the same vigour of thought and touch, for which he was ever so justly renowned. When ever the pathetic air of "Total eclipse, no sun, no moon," &c. in his Oratorio of Sampson, was performed, he was always observed to be much disturbed and agitated. The loss of sight, Handel justly considered as a presage of his dissolution, and he seems to have regulated his life accordingly. He sup pressed the violence of his temper, corrected his habits of epicurism, (so often the sport of witlings,) and devoted himself to the duties of religion, for which he had always felt a profound reverence. When he became sensible of the approach of death, he expressed a devout desire that he might breathe his last on Good Friday, "that he might meet his Lord and Saviour, on the day of his resurrection." His pious wish was granted; and he left this turbulent world, on Friday, the 13th of April, 1759. He was buried in Westminster Abbey, and a monument was erected over his grave, representing him at full length, in an erect posture, with a scroll of music in his hand, inscribed with the notes and words of "I know that my Redeemer liveth." Handel, in his person, was large, and rather corpulent; and his gait was ungraceful; his countenance, however, bespoke fire and dignity attempered by good-will. Though impetuous, rough, and peremptory in his manner, yet he was totally devoid of ill-nature or malevolence. Of the charitableness of his heart, he gave many proofs, particularly his devoting the large profits of eleven annual performances of the Messiah, to the Foundling Hospital, and his liberal benefactions to the Musical Fund. That he was a just man, was shown by his not only resigning all his past earnings, but pledging his future ones, until every demand arising from his ruinous connexion with the Italian Opera, was satisfied. His whole life, indeed, was one steady course of moral rectitude. He was at all times familiar with the Holy Scriptures, which he made the themes of his most sublime compositions; and his latter years showed, that they had an influence upon his heart, and served to smooth his path "through the valley of the shadow of death." To show the character of Handel as a composer, we subjoin the following extracts, from sources of high reputation. But perhaps his greatest eulogium is, that his works still live, are still heard and heard again with new delight; and, like the plays of Shakspeare, do not fatigue or come 7 with staleness on the ear, even after accumulated repetitions. So often, indeed, has the sacred music of Handel been incorporated into the rites of divine worship, so often applied to the purposes of heavenly charity, as to attach a kind of reverence to his very name, which predisposes the mind to listen to his sublime strains with feelings of awe and devotion. CHARACTER OF HANDEL AS A MUSICIAN. HANDEL'S Chorusses, in his Oratorios, answer to the sublime in poetry; they are of his own invention, and are the very basis of his reputation. Sir John Hawkins, Hist. of Music. Till they were taught to the contrary by Handel, none were aware of that dignity and grandeur of sentiment which music is capable of convey. ing, or that there is a sublime in music as there is in poetry. This is a discovery which we owe to the genius and inventive faculty of this great man. Ibid. The Oratorio, which originated in Italy, was not introduced into England until the time of Handel. He who could excel in every department of the art, has most frequently displayed his master strokes in this species. To instance, the opening movement, "Comfort ye my people," and the songs, "I know that my Redeemer liveth," "He was despised and rejected of men;" the chorusses, "He trusted in God," "And with his stripes," and the immortal "Hallelujah," would be to point out more indications of genius than are discoverable, perhaps, in all the vocal compositions of any individual among his English successors.-Hastings on Musical Taste. Handel, as a musician, is above all rank, for no one ranks with him. His invention appears to have been always ready, rich, and accommodating to the subject in hand. He wrote quickly, and most of his finest thoughts were the birth of a moment. His mellifluous softness, and dignified mirth, fire, energy, and purity of pathos, have been approached by various masters, but to his sublimity no one has been able to soar. Dr. Busby's History of Music. To these [the great authors from the age of Leo X.] we may justly add our illustrious Handel; in whose manly style we often find the noblest harmonies, and these enlivened with such a variety of modulation, as could hardly have been expected from one who hath supplied the town with musical entertainments of every kind, for thirty years together. Avison on Musical Expression. "Haydn, the admirable and matchless Haydn !" was an enthusiastic admirer of his great predecessor. His countenance would often express rapturous astonishment during the performance of the concert of Ancient Music. Upon being asked how he estimated the chorus in Joshua, "The nations tremble at the dreadful sound," he replied, "He had long been ac quainted with music, but never knew half its power before he heard it, and he was perfectly certain, that only one inspired author ever did, or ever would pen so sublime a composition." On being complimented upon the recitatives in his own Oratorio, Il Ritorno di Tobid, which abound with the finest specimens of the enharmonic, their composer proved his liberality and judgment by declaring, that "Deeper and deeper still," greatly sur passed them in pathos and contrast.-Shield's Rudiments. * See notes and annotations to the words of Haydn's Oratorio of the Creation, published by the Musical Fund Society of Philadelphia. In the Oratorio of Jeptha, |