He lived then amongst the English patrons—for a year with a wealthy music lover in Surrey—then in Piccadilly at Lord Burlington’s palace. He remained there three years. Pope and Swift were familiars in the house, which Gay had described. Handel performed there on the organ and clavecin before the élite of London society by whom he was much admired—with the exception of Pope, who did not like music. He composed a little,[171] being satisfied to exist, as in his sojourn at Naples, waiting without hurry to be saturated by the English atmosphere. Handel was one of those who can write three operas in two months, and then do nothing more for a year. It is the rule of the torrential river which sometimes overflows, and then runs dry. He awaited the course of events. The inheritors of Hanover seemed decidedly ousted. The Duchess Sophia died on June 7, 1714, Chrysander says of grief (but it was certainly also apoplexy)—convinced that the Stuart would attain the coveted heritage. Less than ever did Handel breathe a word of returning to Hanover, but chance upset all his plans. Two months after the death of the Duchess Sophia, Queen Anne died suddenly on August 1, 1714. The same day, in the confusion into which events had thrown the Stuart party, George of Hanover was proclaimed King by the secret council. On September 20 he arrived in London. He was crowned at Westminster on October 20, and Handel, very perturbed at the thought of his Ode to Queen Anne, had the mortification of seeing that had he waited another year his Te Deum would have served for the enthronement of the new dynasty.
To do him full justice, he did not seem much discomfited by this turn of fortune’s wheel. He did not put himself about to ask for pardon. He set to work instead and wrote Amadigi. It was the very best way for him to plead his cause. George I of Hanover had many faults, but he had one good quality. He loved music sincerely, and this passion was shared by very many of the people more or less notable in his Court. Music had always been for Germany the fountain where soiled hearts purified themselves, the redemption from the petty basenesses of “the daily round, the common task.” Whatever King George thought of Handel, he could not punish him without punishing himself. After the success of his charming Amadigi, played for the first time on May 25, 1715, he had not the courage to harbour malice any longer against his musician. They were reconciled.[172] Handel resumed his post of Kapellmeister at Hanover by now acting as the music master to the little princesses, and when the King went to Hanover in July, 1716, Handel travelled with him.
It was not that he had much occupation at the Court. The King was too engrossed in State business, and with hunting. He did not even find time to be anxious about his old retainer, Leibnitz, who died at Hanover on November 14, 1716, unnoticed at Court. Handel took advantage of this leisure to renew his acquaintance with the German art.
There was then in Germany a fashion for musical Passions. There was a religious and theatrical tendency at that time. One cannot separate the influence of Pietism and that of the Opera. Keiser, Telemann, Mattheson, all wrote Passions, which caused a great stir[173] at Hamburg, on the famous text of the Senator Brockes. Following their example, perhaps in order to measure himself with these men, who had all three been rivals or friends,[174] Handel took the same text and wrote on it in 1716 his Passion after Brockes. This powerful and disparate work, where bad taste mingles with the sublime, where affectation and pomposity are mingled with the most profound and serious art—a work which J. S. Bach knew well, and very carefully remembered—was for Handel a decided experience. He felt in writing it what a great gulf separated him from the Pietist German art, and on his return to England[175] he composed the Psalms and Esther.
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This was the principal epoch of his life. Between 1717 and 1720, whilst he was in the service of the Duke of Chandos,[176] he made a careful examination of his own personality, and created a new style in music, and for the theatre.
The Chandos Anthems or Psalms[177] stand, in relationship to Handel’s oratorios, in the same position as his Italian cantatas stand to his operas: they are splendid sketches of the more monumental works. In these religious cantatas, written for the Duke’s chapel, Handel gives the first place to the choruses: it is the exact words of the Bible which they sing. Strong heroic words, freed from all the commentary and sentimental effusions with which German Pietism had loaded them. There is already in them the spirit and the style of Israel in Egypt, the great monumental lines, the popular feeling.