The great composer was a big man, both physically and mentally. A friend describes his countenance as full of fire; "when he smiled it was like the sun bursting out of a black cloud. It was a sudden flash of intelligence, wit and good humor, which illumined his countenance, which I have hardly ever seen in any other." He could relish a joke, and had a keen sense of humor. Few things outside his work interested him; but he was fond of the theater, and liked to go to picture sales. His fiery temper often led him to explode at trifles. No talking among the listeners could be borne by him while he was conducting. He did not hesitate to visit violent abuse on the heads of those who ventured to speak while he was directing and not even the presence of royalty could restrain his anger.
Handel was always generous in assisting those who needed aid, and he helped found the Society for Aiding Distressed Musicians. His last appearance in public, was at a performance of the "Messiah," at Covent Garden, on April 6, 1759. His death occurred on the 14th of the same month, at the house in Brook Street where he had lived for many years. Thus, while born in the same year as Sebastian Bach, he outlived him by about a decade. He was buried in Westminster Abbey, and later a fine monument was erected to his memory. The most of his manuscripts came into the possession of King George III, and are preserved in the musical library of Buckingham Palace.
IV
CHRISTOPH WILLIBALD GLUCK
Christoph Willibald Gluck has been called the "regenerator of the opera" for he appeared just at the right moment to rescue opera from the deplorable state into which it had fallen. At that time the composers often yielded to the caprices of the singers and wrote to suit them, while the singers themselves, through vanity and ignorance, made such requirements that opera itself often became ridiculous. Gluck desired "to restrict the art of music to its true object, that of aiding the effect of poetry by giving greater expression to words and scenes, without interrupting the action or the plot." He wrote only operas, and some of his best works keep the stage to-day. They are simple in design yet powerful in appeal: very original and stamped with refinement and true feeling.
The boy Christoph, like many another lad who became a great musician, had a sorrowful childhood, full of poverty and neglect. His home was in the little town of Weissenwangen, on the borders of Bohemia, where he was born July 2, 1714. As a little lad he early manifested a love for music, but his parents were in very straitened circumstances and could not afford to pay for musical instruction. He was sent to one of the public schools. Fortunately the art of reading music from notes, formation of scales and fundamentals, was taught along with general school subjects.
While his father lived the boy was sure of sympathy and affection, though circumstances were of the poorest. But the good man passed away when the boy was quite young, and then matters were much worse. He was gradually neglected until he was at last left to shift for himself.
He possessed not only talent but perseverance and the will to succeed. The violoncello attracted him, and he began to teach himself to play it, with no other help than an old instruction book. Determination conquered many difficulties however, and before long he had made sufficient progress to enable him to join a troop of traveling minstrels. From Prague they made their way to Vienna.
Arrived in Vienna, that rich, gay, laughter-loving city, where the people loved music and often did much for it, the youth's musical talent together with his forlorn appearance and condition won sympathy from a few generous souls, who not only provided a home and took care of his material needs, but gave him also the means to continue his musical studies. Christoph was overcome with gratitude and made the best possible use of his opportunities. For nearly two years he gave himself up to his musical studies.
Italy was the goal of his ambition, and at last the opportunity to visit that land of song was within his grasp. At the age of twenty-four, in the year 1738, Gluck bade adieu to his many kind friends in Vienna, and set out to complete his studies in Italy. Milan was his objective point. Soon after arriving there he had the good fortune to meet Padre Martini, the celebrated master of musical theory. Young Gluck at once placed himself under the great man's guidance and labored diligently with him for about four years. How much he owed to the careful training Martini was able to give, was seen in even his first attempts at operatic composition.