Famous composers and their works, Vol. 1

by Unknown

PUBLIC SQUARE IN HALLE, CONTAINING HANDEL'S MONUMENT.

In the spring of 1703 he took the decisive step; he abandoned the law forever, and left Halle, in order to ascertain through his own experience the condition of musical matters in the world at large. Church cantatas and motettes, organ and clavier playing could not continue, in the long run, to be the sole objects of his activity. Bach was satisfied in such a sphere; Handel was attracted by secular music and courted publicity. The opera, established in Italy, had been cultivated in Germany in the seventeenth century only at the royal courts. But since 1678 it had found a home in the free city of Hamburg, where, in the year 1695, it had entered upon its most brilliant period. Reinhard Keiser, born at Teuchern near Weissenfels in 1674, a man of more genius than any German operatic writer of his time, had composed for it and decided the direction it was to follow. When Handel arrived in the city, Keiser had also undertaken to conduct the business portion of the enterprise, for which he was by no means adapted, and the value of his services was gradually diminishing. But for an artist in the dawn of his career, stimulating influences were here at work. What Handel especially wished to acquire—the art of strong, beautiful, universally effective melody—Keiser's opera offered him the best opportunity for acquiring, if he desired to remain in the sphere of German music. He applied for admission to the theatre orchestra, took his place very modestly as second violin, and kept in the background as much as possible. But on one occasion, in the absence of the accompanying pianist, Handel undertook to fill his place and excited great admiration by his masterly performance. Through the friendship of Johann Mattheson, a native Hamburger, some years older than Handel and at that time principal tenor at the opera, he was introduced into the society of the place. But he did not allow himself to be drawn into the gay life of which Keiser was the leading spirit. In the company of Mattheson he once rode over to Lübeck, and made the acquaintance of Buxtehude, before whom he played. This happened only a little in advance of Bach's journey from Arnstadt to Buxtehude. It was probably on the return trip from Lübeck that Bach chose to pass through Hamburg, so that the two greatest musicians of their day traveled thither almost at the same time without any knowledge of each other, nor did they ever become personally acquainted in after years. In 1704, probably for performance in Holy Week, Handel composed his Passion music, having followed the account given in the gospel of John. The poetic text was furnished by Christian Postel, who formerly had written also for the operatic stage. Handel's first attempt at an opera was in the following year. This work, "Almira," was brought out in the carnival period of 1705 and excited the jealousy of Keiser himself, through the extraordinary applause which it received. After this followed "Nero" and "Florindo and Daphne," the latter an opera intended for two evenings. Meantime the operatic enterprise was on the eve of failure, owing to the irregular business methods of Keiser, who was obliged to resign his office of director and leave Hamburg. At this time also, Handel's stay in the city came to an end. He had learned what there was to learn and had moreover perceived that the German opera in Hamburg was only an imitation of the Italian, and that he must go to the fountain head in order to attain his end—a thorough mastery of the science of vocal composition, Solo Gesang. From the profits of his music-teaching in Hamburg he had managed to save the sum of two hundred ducats, and with this, at the end of the year 1706, or the beginning of 1707, he started for Italy. Possibly he made a short visit at Florence on his way to Rome; at any rate he was in the latter city during the opera season of 1707 and remained there certainly until July. Then he turned his face northward again, brought out in Florence his first Italian opera, "Rodrigo," in which the afterwards famous singer, Vittoria Tesi, assumed the leading role. In January, 1708, he went to Venice, which was still one of the principal homes of the opera in Italy, though Naples was already beginning to dispute its supremacy. The opera, "Agrippina," which Handel produced here, and in which Tesi, having followed the composer from Florence to Venice, again appeared in the leading role, spread his fame throughout the land and far beyond its boundaries. From Venice, where he had made the acquaintance of Antonio Lotti, he went back to Rome and found there a very cordial welcome from the "Arcadia," a society formed for the promotion of the arts and sciences, including among its members the most cultivated and talented people of the city, and presided over by the Marchese Ruspoli. Another society, in which music received still more attention than in the "Arcadia," had been founded by the Cardinal Pietro Ottoboni. All the more important works composed by Handel in Rome were performed in this circle and conducted by the great violin virtuoso, Archangelo Corelli. Two oratorios in the Italian style were produced at this time: "La Risurrezione" and "Il Trionfo del Tempo e del Disinganno." The latter work underwent two revisions during Handel's London period, first in 1737, then shortly before his death in 1757. The desire to perfect himself more and more in his art, the enthusiastic recognition which greeted him, his easy entrance into the most intellectual and brilliant society in Italy, all this combined to make these months in Rome the happiest period of his life. The best musicians became his friends. With Domenico Scarlatti, the greatest clavier master of Italy, he engaged in a grand competition, at the close of which it remained undecided which was the greater performer; but when they went to the organ, Scarlatti himself was the first to say that the prize belonged to his rival. Among Handel's cantatas, there is one entitled "Partenza," the substance of which is a lament that he must leave the beautiful banks of the Tiber. If one does not wish to go so far as to read in this an affair of the heart, it still reveals how hard the parting was for him. From Rome he went to Naples, to Alessandro Scarlatti, the father of Domenico and the founder of the Neapolitan School. His reputation had preceded him, and here also he met with the warmest reception in the highest and most cultivated circles, while surrounded by stimulating influences of every sort. How strongly attracted he was by the society and the life of Southern Italy, is shown by the fact that he remained a whole year in Naples without accomplishing much that was characteristic in his art. The only important work of which we have knowledge is the pastoral: "Aci, Galatea e Polifemo," but this was already completed on the 16th of June, 1708. It is related that the society world of Italy became so fond of Handel, that it would gladly have retained him; it is even said that efforts were made to convert him to the Catholic faith. Handel, however, would neither abandon his belief, nor his German spirit; he had come to learn from the Italians, but what they had taught him, it was his intention to use in his own way.

By way of Rome and Florence, he now returned to Venice, where, in the carnival season of 1710, he listened again to the performance of his opera "Agrippina." Artists and illustrious friends of art from England and from the electoral court of Hanover were present, also the Hanoverian chapel-master, Abbé Agostine Steffani. In their company he traveled back to Germany and became Steffani's successor in Hanover. He, however, soon obtained leave of absence that he might go to England, whither he was urgently invited. The journey was made by way of Düsseldorf, where one of his patrons, Johann Wilhelm of the Palatinate, resided, and then through Holland. A personality like Handel's seemed especially suited to aid in elevating the musical standard of the English people. Allied with them in race, and understanding therefore their peculiar characteristics, he had acquired, through his residence in Italy, complete mastery of what the English taste now demanded above all else—Italian art. But there was no thought of simply importing this into England just as it grew on its own soil. England could look back with pride upon her musical past. In the sixteenth century she hardly ranked below the other countries of Europe in respect to eminent composers, and in the seventeenth she could boast of no less an artist than Henry Purcell. Since the death of this famous man in the prime of life, there had, however, been a dearth of creative power in the sphere of music. But there remained the persistent desire to establish once more a national English art by appropriating whatever the Germans, the French, and pre-eminently the Italians had created, and Handel seemed the person best adapted to assist in this undertaking. Since 1705 there had been an Italian opera in London, but it did not flourish. For this Handel wrote in two weeks his opera "Rinaldo." This was the first work with which he stepped before the English public. It was produced for the first time at the Haymarket Theatre and proved so successful that it was repeated fourteen times in the same season. The text had been written in English verse by Aaron Hill, the director of the opera-house. It was then translated into Italian and employed in this form by Handel. His position in England was assured by this opera. He had even been permitted to play before Queen Anne and gained her approval. When he left in order to resume his duties in Hanover, the English were loath to spare him, and constantly expressed the hope that he would soon return.

In former years, under the elector Ernst August, the Hanoverian court had possessed an opera-house, and Steffani had written for it a number of excellent works. The theatre indeed still remained in the princely palace on the Leine, but there were no operatic performances in the reign of elector Georg Ludwig. Handel's activity was restricted to the leadership of the chamber music performed at Court, and that which was ordered on the occasion of special festivities. For his model in composition he took his predecessor, Steffani, whose strength and artistic importance lie in his chamber duets ("Duetti da Camera"). The solo parts of the chamber cantata originated by Carissimi are dramatic in character, while the duets of Steffani are lyric. He did not aim to represent well-defined musical characters in his duets, but to express lyric feeling in a general way, in the development of which both voices are made to blend artistically in polyphonic style. In Italy, Handel had occupied himself especially with the solo cantata; in Hanover he devoted himself to the duet, and a considerable number of these exquisite compositions are still preserved. But with a mind full of grand conceptions and a constant craving for publicity, it is easy to understand that he could not long content himself at the Hanoverian court and was strongly attracted to London. Wishing to visit that city in the autumn of 1712, he begged for a new leave of absence and received it, but with the proviso that "he should engage to return within a reasonable time." This condition he did not fulfil, nor did he ever again return to Hanover. After having confirmed himself in the good will of the English public by means of two new operas, and found favor with the queen by writing an ode for her birthday (Feb. 6, 1713), he was commissioned by the latter to compose the music for the public celebration of the Peace of Utrecht. The queen had won for herself so much credit through the speedy termination of the war of the Spanish Succession that she was inclined for a celebration and desired a brilliant festival. To this Handel contributed in fullest measure, furnishing two works: the so-called "Utrecht Te Deum" and the composition of the 100th Psalm ("Jubilate"). In return, the queen granted him a yearly salary of £200, thus taking him completely into her service. His leave of absence had expired without his being able to resolve upon leaving England. He learned that the elector was angry with him, but thought himself secure under the protection of the English queen. But now ensued the sovereign's sudden death (1714), and her successor upon the throne was the elector of Hanover. From the awkward predicament in which Handel now found himself he contrived to escape through the power of his art. Learning that the king proposed to make an excursion on the Thames, Handel composed for the occasion a piece of music whose lofty beauty won for him the royal pardon. Under the name of "Water Music," it grew popular and familiar.

HANDEL'S FATHER.

GEORGE HANDEL,—valet and surgeon to the prince of Saxe Magdeburg.
The subjoined verse praises his skill, benevolence and fidelity.

From this time it was decided that England should become Handel's second home. Only as a visitor did he see his fatherland again, and it was during his first prolonged sojourn in 1716 that he accomplished his last great vocal composition in the German language. After the pattern of the Italian oratorios, a prominent resident of Hamburg, Barthold Heinrich Brockes, had written a rhymed poem on the Passion, which, because it was in sympathy with the Italianizing spirit of the day, was eagerly seized upon by the German composers. Keiser, Telemann, Mattheson and Stölzel set it to music; even Sebastian Bach took some aria texts from it for his "Johannes Passion." Its attraction for Handel lay no doubt in the Italian form of the poem and the possibility of applying for once the skill in composition acquired in Italy to a text in his mother tongue. He was far from intending to come to the rescue of the evangelical church music of Germany, for into this domain this Passion music cannot possibly be drawn, although Brockes, by the introduction of a narrating evangelist and the addition of chorals, had made some concessions in this direction. It is, therefore, unjust to draw any sort of comparison between the "Passion" of Handel and that of Bach. From the fact that he afterwards made use of the most essential portions of his work in his oratorios, Handel has distinctly shown the character of his music.