The Child Handel. From painting by Margaret Dicksee.
The legend that accompanied, in the catalogue of the Royal Academy of 1893, Miss Dicksee's picture of the boy Handel, varied somewhat from the version just quoted. It says that the father forbade the child following his bent, and banished all the musical instruments in the house to the attic, where, however, the little musician discovered them, and, under cover of night, resumed his beloved pursuit. The sounds thus produced, and the flitting of the little white-clad figure over the stairs, started the story that the house was haunted, which was believed until the truth was revealed, as shown in the picture.
Miss Dicksee, an Englishwoman, and the sister of Frank Dicksee, R. A., has painted several deservedly popular pictures, having for their subjects episodes in the lives of those who have reared themselves above the common mass of humanity. Such are her "Swift and Stella," "The First Audience—Goldsmith and the Misses Horenck," and "Sheridan at the Linleys."
Handel, whom the Elector of Hanover had made his capellmeister, first came to England in the autumn of 1710, having been granted a year's leave of absence by his royal patron. In the following February his opera of "Rinaldo" was produced in London with great success, and at once established the composer's reputation with the English public. At the close of the season he returned to Hanover, where he remained over a year, but was back in England again toward the end of 1712. In July of the following year, his Te Deum and Jubilate, for the service of thanksgiving held in celebration of the Peace of Utrecht, was performed in St. Paul's, and Queen Anne bestowed a life pension of 200 pounds a year upon him. In August, 1714, the queen died, and Handel, who had long out-stayed his leave of absence from Hanover, felt some qualms of conscience while awaiting the coming of his master, who arrived within six weeks after Anne's death to be crowned as George I. George had some reason to be vexed with both "his principal musicians: with the capellmeister for neglect, with Farinelli, the concert-master at Hanover, for obtrusiveness. In the thick of all the bustle consequent on the court's leaving Hanover, this gentleman wrote and thrust into the elector's notice a composition to the words, 'Lord, remember me when thou comest into thy kingdom.' Handel was somewhat afraid to go near his injured master, who, however, could not help hearing of him. The new royal family cared for music, and for no other form of art. They were not edified by entertainments in a language they did not understand, and the English drama drooped while the Italian opera revived, the Prince and Princess of Wales being present nearly every night.
"'Rinaldo' was remounted, with Nicolini, who had returned, in the principal part. 'Amadigi,' by Handel, was produced toward the end of the season, and repeated four times. At the second performance the concerto now known as the 'Fourth Hautboy Concerto' was played between the acts. A great deal of the opera is adapted from 'Silla;' the whole stands high among the series to which it belongs. It may be an indirect testimony to its popularity that parodies and burlesques in imitation of it drew crowded audiences to other theatres. Meanwhile, the awkwardness of the situation between the king and Handel increased every day. The account of the manner in which a reconciliation was at last brought about has been repeated and believed by every biographer since Mainwaring, including Chrysander, in his first volume, who, however, by the time he wrote his third volume had discovered some evidence tending to throw doubt on its veracity. The story goes that Baron Kielmansegge, the common friend of both king and capellmeister, took occasion of a grand water-party, attended by the whole court, to engage Handel to compose some music expressly for this festivity, the result being the celebrated 'Water Music,' of which Handel secretly conducted the performance in a boat that followed the royal barge. The king, as delighted as he was surprised by this concert, inquired at once as to the author of the music, and then heard all about it from Kielmansegge, who took upon himself to apologise most humbly for Handel's bad behaviour, and to beg in his name for condonation of his offence. Whereupon his Majesty made no difficulties, but at once restored him to favour, and 'honoured his compositions with the most flattering marks of royal approbation.'
"A water-party did take place in August, 1715, but the brilliant occasion when a concert of music was given, for which special music was written 'by Mr. Handel,' and when Kielmansegge was present, and when probably, therefore, the 'Water Music' was produced, only happened in 1717, when peace had long been made, and pardon sealed with a grant to Handel of 200 pounds a year. The ice was, perhaps, broken by Geminiani, the great violinist, who, when he was to play his concertos at court, requested to be accompanied on the harpsichord by Handel, as he considered no one else capable of doing it. The petition was powerfully seconded by Kielmansegge, and acceded to by George I."
