GEORGE FREDERICK HANDEL
EORGE FREDERICK HANDEL was born at Halle on the Saale, on the 23d of February, 1685, the same year that gave to the world his famous contemporary, Sebastian Bach. Halle, formerly a Saxon city, belonged after 1680 to the electorate of Brandenburg. Handel's father was surgeon-barber and officially attached in this capacity to the ducal court of Saxony at Weissenfels. A vigorous and active man, he acquired in time both property and influence, and at the age of sixty-two he took to himself a second wife, the daughter of the pastor at Giebichenstein, near Halle. The second son of this branch of the family was the composer, George Frederick.
The boy was intended for a jurist, and was sent to the grammar-school. His talent for music showed itself early, but was repressed, rather than encouraged by the father, who, however, had once allowed his son to accompany him to the court at Weissenfels, where, at that time, music was zealously cultivated and represented by able performers. The boy's organ-playing and the universal talent for music which he already manifested, created such astonishment that the duke not only dismissed him with liberal presents but also impressed upon the father that it was his duty not to allow such gifts to perish. In obedience to this injunction, George was placed under the instruction of the organist at the Marienkirche, Friedrick Wilhelm Zachau. This musician had sufficient ability to be able to point out the way to the young genius, who thenceforth pursued it alone. Handel's nature was of the kind which matures early, and he was one of the few precocious musicians who have reached old age and retained their creative power in later years. He was about eleven years old when his lessons began under Zachau, and at this time he composed six sonatas for two oboes and base, which have been preserved, and cannot fail to excite admiration for the skill with which they are written, as well as for their depth of feeling. He assisted his teacher in the care of the organ services and, moreover, already wrote church cantatas, completing one every Sunday for the space of three years. His rapidity in composing, which later caused so much amazement, showed itself from the first. He himself said, when one of his early productions was laid before him: "I used to write like the Devil in those days, but chiefly for the oboe, which was my favorite instrument." While pursuing his studies in composition, he was at the same time diligent in his practice of the clavichord and organ. Handel would have been no true German if he had not possessed a special aptitude for this phase of the art, in which Germany has surpassed all other nations. Among the more renowned musicians, whose works were his models, are mentioned Froberger, Johann Friedrich Alberti, Johann Krüger, that excellent composer for the clavichord, and Delphin Strunck, the Brunswick organist and younger friend of Heinrich Schutz; Kaspar Kerl, though born in Upper Saxony, belongs nevertheless to the South German school of organists, so closely allied to the Italian. Upon Bach no deeply penetrating influence was ever exercised by this school, whereas Handel's strong affinity for it cannot possibly be denied. He has himself referred to Johann Krüger's piano music as furnishing him a superior model, and he held in honor all his life that artist's "Anmuthige Clavier-Uebung," published in 1699. Handel now developed with wonderful rapidity into a performer of surpassing excellence, his favorite instrument being the organ, as adapting itself better than the clavier to his love for the grand and majestic. He was fond of improvising and especially great in that direction, his inspiration being perhaps more direct than that of Bach, who, in deed, was also powerful in extemporization, but whose profound imagination was called into play less easily. It is worthy of note in regard to Handel, that though he played the organ constantly up to extreme old age, no veritable organ-compositions by him are extant. Those which now pass for such were in part originally intended for the clavier, or, when really for the organ, as in the case of his numerous organ concertos, the instrument thus designated was nothing more than a finer sort of clavier.
The first journey of any consequence undertaken by Handel was directed to the electoral court in Berlin and, as the visit was made in the company of his father, it could not have been later than 1696, the death of Handel senior having occurred on the 11th of February, 1697. At that time, thanks to the refined cultivation of the electress Sophie Charlotte, the Berlin Court was justly regarded as a fostering home of the arts and sciences. In music, the Italians took the lead. Here Handel first met Giovanni Bononcini and Atilio Ariosti, later his rivals in England. The impression produced at Court by the youth's playing, his maturity of mind and the skill he displayed in the execution of difficult tasks, was so strong, that elector Frederick offered to defray the expenses of his musical education in Italy. Fortunately for the boy, his father refused this offer, the acceptance of which would have had the effect of attaching Handel permanently to the imperial court, where, from the beginning of the reign of Friedrich Wilhelm I. (1713) all arts declined. Meantime the idea of a legal education had not been entirely given up, and the son was dutiful enough to respect this cherished project of his father, even after the latter's death, although he could scarcely have felt the slightest inward doubt as to his true vocation in life. After completing his course at the gymnasium, he studied at the university in Halle during the years 1702 and 1703. At the same time he filled the position of organist at the Calvanistic Cathedral in the Moritzburg, and in that capacity received a salary of about fifty dollars a year.
