Hasse was even superior to Porpora in the charm of his melody, which Mozart alone has equalled, and in his symphonic gifts, which showed themselves in his rich instrumental accompaniments no less melodious than his songs.[221] Handel was not slow to discover the folly of striving with Hasse on Italian ground. His superiority was with the choruses; he sought to introduce them into the Opera after the French model. The situation was even less promising for him on the departure of his best protectrix, the Princess Anne, sister of the Prince of Wales.[222] After having compromised Handel by the strong feeling which she had shown in defending him, she left him to the tender cares of the enemies which she had made for him. She left England in April, 1734, to join her husband the Prince of Orange[223] in Holland.
Handel came to be abandoned by his old friends. His associate, Heidegger, the proprietor of the Haymarket Theatre, took the hall for a rival opera, and Handel, driven from the house in which he had worked for fourteen years, had to emigrate with his troupe to John Rich’s place at Covent Garden[224]—a sort of music-hall where Opera took its turn with all kinds of other spectacles: ballets, pantomimes, and harlequinades. In Rich’s troupe some French dancers were to be found, amongst whom was “la Salle,”[225] who was shortly to arouse great enthusiasm amongst the English public with two tragic dances: Pygmalion and Bacchus and Ariadne.[226] Handel, who had known the French art[227] for a long time, saw how far he could draw on these new resources, and he opened the season of 1734 at Covent Garden with a first attempt in the field of the French ballet opera: Terpsichore (November 9, 1734), in which “la Salle” took the principal rôle. A month later a Pasticcio followed, Orestes, where Handel gave a similar important part to “la Salle,” and to her expressive dances. Finally, he intermingled the dance and the choruses closely with the dramatic action in two masterpieces of poetry and beautiful musical construction—Ariodante (January 8, 1735), and especially Alcina (April 16, 1735).
Bad luck still pursued him. Some gross national manifestations compelled “la Salle” and her French dancers to leave London.[228] Handel gave up the ballet opera. To leave at this moment, if he was to continue the struggle with the theatre, went badly against the grain, and was tantamount to declaring himself vanquished. At the opening of his theatrical enterprise he had saved, so it is said, £10,000. All this was absorbed, and already he was £10,000 more to the bad. His friends did not understand his obstinacy, which seemed about to involve him in complete ruin. “But,” says Hawkins, “he was a man of intrepid spirit, and in no ways a slave to mere interest. He raised himself again for the battle rather than bow down to those whom he regarded as infinitely beneath him.” If he could no longer be conqueror, still less would he hand the reins to his adversaries. He overcame them—but a little more would have vanquished himself in the same stroke.
He persisted then in writing his operas,[229] of which the series spread out until 1741, marking work after work with a growing tendency towards the opéra-comique and the style of romances[230] so dear to the people at the second half of the eighteenth century. But since 1735 he felt more than ever that the true musical drama for him was the oratorio. He returned victoriously with Alexander’s Feast, which was composed on the Ode to St. Cecilia, by Dryden,[231] and given for the first time on February 19, 1736, at the Covent Garden Theatre.
Who would have believed that this work, robust and sane throughout, was written in twenty days, that it was performed in the midst of his business worries, within an ace of ruin, and when he was threatened with that grave malady which was to throw the mind of Handel for evermore into gloom?
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For several years trouble pursued him. Work and excessive worry had undermined an iron constitution. He tried the baths at Tunbridge Wells during the summer of 1735, and probably also in 1736, but with no success. He could not sleep. His theatre was always on his mind. He made superhuman efforts to keep it going. From January, 1736, to April, 1737, he directed two seasons of Opera, two seasons of oratorio, and composed a song, an oratorio, a Psalm, and four operas.[232] On April 12, or 13, 1737, the machine broke down. He was smitten with paralysis, his right side was attacked, his hand refused all service, and even his mind was affected. In his absence his theatre closed its doors, bankrupt.[233] During the whole of the summer Handel remained in a pitiful state of depression. He refused to care for anything; all hope was lost. Finally, his friends succeeded in inducing him, towards the end of August, to try the baths at Aix-la-Chapelle. The cure had a miraculous effect. In a few days he was restored. In October he returned to London, and immediately the refreshed giant resumed the struggle, writing in three months two operas, and the magnificent Funeral Anthem on the death of the Queen.[234]
Sad days were in store, however. His creditors seized him, and he was threatened with imprisonment. Happily a sympathetic movement was inaugurated in favour of the artist so harassed by his kind. A benefit concert, to which his pride reluctantly submitted,[235] at the end of March, 1738, had an unexpected success. It freed him from the most pressing of his debts. In the following month a token of public admiration was given him. His statue was erected in the Vauxhall Gardens.[236] In the springtime of 1738 he began to feel, with returning strength, confidence in the future. The horizon cleared. He was encouraged by such faithful sympathy. He returned to life, and made his presence felt again.
On July 23 he commenced Saul; on August 8 he had written two acts of it; by September 27 the work was finished. On October 7 he began Israel in Egypt; by October 28 the work was achieved. Still pushing strenuously forward, on October 4 he launched the first volume of his organ concertos with the publisher Walsh, and on the 7th he took to him his Seven Trios or Sonatas in two parts, with bass, Opus 5. For those who know these joyful works, which dominate like two Colossi the two oratorios of victory, this superhuman effort had the effect of a force of Nature, like a field which breaks into flower in a single night of springtime.
Saul is a great epic drama, flowing and powerful, where the humorous and the tragic intermingle. Israel is one immense chorale, the most gigantic effort which has ever been made in oratorio, not only with a single but with combined choirs.[237] The audacious originality of the conception and its austere grandeur almost stunned the public of his day. The living Handel breathes throughout the work.