It was a good thing that Handel had an altogether different idea of opera, and that his personality differed greatly from that of Purcell, which left him no point for profiting (as he had done with others) by the genius of his predecessor. Arriving in a strange country, of which he did not even know the language or the spirit, it was natural that he should take the English master as his guide. Hence the analogies between them. Purcell’s Odes often give one the impression of being merely a sketch of the cantatas and oratorios of Handel. One finds there the same architectural style, the same contrast of movements, of instrumental colours, of large ensembles, and of soli. Certain dances,[152] some of the heroic airs, with irresistible rhythms and triumphant fanfares,[153] are there already before Handel, but they are only there as brilliant flashes with Purcell. Both his personality and his art were different. Like so many fine musicians of that time, he has been swallowed up in Handel, just as a stream of water loses itself in a river. But there was nevertheless in this little spring a poetry peculiar to England, which the entire work of Handel has not—nor can have.
Since the death of Purcell the fount of English music had dried up. Foreign elements submerged it.[154] A renewal of Puritanical opposition which attacked the English stage contributed to the discouragement and abdication of the national artists.[155] The last master of the great epoch, John Blow, an estimable artist, famous in his time, whose personality is a little grey and faded, was not wanting in distinction or in expressive feeling—but he had then withdrawn himself into his religious thoughts.[156]
In the absence of English composers, the Italians took possession of the field.[157] An old musician of the Chapel Royal, Thomas Clayton, brought from Italy some opera libretti, scores, and singers. He took an old libretto from Boulogne, caused it to be translated into English by a Frenchman, and clumsily adapted it to music of little worth; and, such as it was, he proudly called it “The first musical drama which has been entirely composed and produced in England in the Italian style, Arsinoé, Queen of Cyprus.” This nullity, played at Drury Lane in 1705, had a great success, which even exceeded the authentic Italian opera given in the following year in London, Camilla, regina de’ Volsci, by Marc Antonio Bononcini.[158] Vainly Addison tried to battle against the Italian invasion. By writing skits on the snobbism of the public with pleasant irony, he endeavoured to oppose the Italian Opera with a national English one.[159] He was defeated, and with him the entire English theatre collapsed.[160] “Thomyris” in 1707 inaugurated the representations half in Italian and half in English, and after the Almahade in January, 1710, all was in Italian. No English musician attempted to continue the struggle.[161]
When Handel arrived then, at the end of 1710, national art was dead. It would be absurd to say, as some have often done, that he killed English music. There was nothing left to kill. London had not a single composer. On the other hand, she was rich in excellent players. Above all she possessed one of the best troupes of Italian singers which could be found in Europe. Having been presented to the Queen Anne, who loved music, and played the clavier well, Handel was received with open arms by the Director of the Opera, Aaron Hill. He was an extraordinary person, who travelled in the East, wrote a history of the Ottoman Empire, composed tragedies, translated Voltaire, founded the “Beech Oil Company” for extracting the oil from the wood of the beech, mixing it with chemicals and using it for the construction of ships. This orchestral man composed during a meeting the plan of an opera, after Jerusalem Delivered. It was Rinaldo, which was written, poem and music, in fourteen days, and played for the first time on February 24, 1711, at the Haymarket.
Its success was immense. It decided the victory of the Italian Opera in London, and when the singer, Nicolini, who took the rôle of Renaud, left England he carried the score to Naples, where he had it produced in 1718, with the aid of young Leonardo Leo. The Rinaldo marked a turning-point in musical history. The Italian Opera, which had conquered Europe, began to be conquered in its turn by foreign musicians, who had been formed by it—the Italianised Germans. After Handel it was Hasse, then Gluck, and finally Mozart; but Handel is the first of the conquerors.[162] After Rinaldo, and until the time when Handel had settled definitely in London, that is to say, between 1711 and the end of 1716, was an indecisive period which oscillated between Germany and England, and between religious music and the Opera.
Handel, who bore the title of Kapellmeister of Hanover, returned to his post in June, 1711.[163] At Hanover he found the Bishop Steffani again, and attempted to write in his style. In this imitation he composed some twenty chamber duets, which did not come up to their model, and some beautiful German songs on the poems by Brockes.[164] Several of his best instrumental pages, his first Oboe Concertos, his Sonatas for Flute and Bass,[165] seem to date from this time. The cavaliers of the Court of Hanover were ardent flautists, and the orchestra, under the direction of Farinel, was excellent; especially had the oboes reached a high degree of virtuosity, which has hardly been approached at the present day. On the other hand, the Opera at Hanover was closed, and Handel could not even give Rinaldo.
He had a taste of the theatre, and did not like abandoning his plan; so he turned his eyes again towards London. Having tested the soil of England, and judged it favourable, Handel decided to establish himself there. He received regular news from England whilst in Hanover.[166] Since his departure no opera could hold its own except Rinaldo. The English amateurs recalled him, and Handel, burning to depart, asked for a new leave from the Court of Hanover. This was granted on the easiest of terms: “on condition that he returned after a reasonable time.”[167]
He returned to London towards the end of November, 1712, in time to supervise the representation of a pastoral, Il Pastor Fido, a hasty work, from which he abstracted the best airs later on.[168] Twenty days later he had finished writing Teseo, a tragic opera in five very short acts,[169] full of haste and of genius, which was given in January, 1713.
Handel endeavoured to settle himself firmly in England. He associated himself with the loyalty and pride of the nation by writing for political celebrations. The conclusion of the Peace of Utrecht, a glorious day for England, approached. Handel prepared a Te Deum, which was already finished in January, 1713, but the laws of England forbade a foreigner to be charged with composing music for official ceremonies. Parliament alone could authorise the representation of this production. Handel cleverly wrote the flattering Ode for the anniversary of the birth of Queen Anne, Birthday Ode of Queen Anne. The Ode was performed at St. James’s on February 6, 1713, and the Queen, enchanted with the work, commanded Handel to write the Te Deum and the Jubilate for the Peace of Utrecht, which was played on July 7, 1713, at a solemn service at St. Paul’s, on which occasion the Members of Parliament attended. These works, in which Handel was helped by the example of Purcell,[170] were his first great efforts in the monumental style.
Handel had succeeded in securing, despite precedent, the post of Official Composer to the English Court. But he had not acted without grave neglect of his duties towards other masters, the princes of Hanover, in whose services he still was. The relationship was extremely strained between the cousin by heritage and her poor parents at Hanover. Queen Anne had taken a dislike to them, especially as she could not endure the intelligent Duchess Sophia. She made up songs about her, and dealt secretly with the Pretender Stuart, for whom she wished to secure the Heritage. In remaining in her service then, Handel took sides against his sovereign at Hanover. Certain historians have even breathed the word “treason.” It is the only fault which his biographer, Chrysander, does not excuse, for it wounded his German patriotism. But it is very necessary to say here that of German patriotism Handel had hardly any. He had the mentality of the great German artists of his time, for whom the country was art and religion; the State mattered little to him.