[141] We shall hereafter adhere to the English spelling of the name, without the Umlaut.
[142] W. S. Rockstro: ‘Life of Handel,’ p. 62.
[143] John Christopher Pepusch (b. Berlin, 1667; d. London, 1752) was not only an able, practical musician, but an authority in theory and musical history. He went to England in 1700 and joined the orchestra of the Drury Lane Theatre, where he became subsequently accompanist and composer. In that capacity he compiled ‘English’ operas from Italian arias. As founder of the ‘Academy of Ancient Music’ he made a serious effort toward the revival of sixteenth century music (Purcell, etc.). He was Handel’s predecessor as organist to the Duke of Chandos and as such composed services, anthems, cantatas, etc. After writing a number of English operas for the Lincoln’s-Inn-Fields Theatre (‘Venus and Adonis,’ ‘Death of Dido,’ etc.), he arranged and produced the famous ‘Beggar’s Opera’ (a ballad-opera by Gay), which attained tremendous popularity and created a serious competition to the Italian operas of Handel.
[144] It was followed In January by Teseo, which, though more successful, did not warrant many performances. A benefit performance was later given by the company for Handel, who, up to that time, had received no remuneration.
[145] Giovanni Battista Bononcini (or Buononcini), son and pupil of Giov. Maria Bononcini (maestro di capella at the cathedral of Modena, composer of chamber music, theoretician, etc.), was born about 1660 at Modena, d. about 1750. As first maestro of S. Giovanni in monte, he wrote masses and oratorios, among which are Davidde, Giosue, La Maddelena a piedi di Christro. His instrumental works include Sinfonie a 5-8 (op. 2, 1685), Sinfonie a 3 with Basso continuo (op. 3, 1686), Sinfonie a piu strumenti (op. 5), etc. In 1691 he went to Vienna, and, beginning 1694, devoted himself largely to the composition of operas (Tullo Ostilio, La fedo pubblica, Proteo sul Reno, Polifemo, etc.), produced in Rome, Vienna and Berlin, where he became court composer to Queen Sophie Charlotte (1703). Before his engagement in London he returned to Vienna and produced a number of new operas, from Tomiri (1704) to Muzio Scevola (1710). His fame was perhaps second only to Handel’s, and the direct popular appeal of his pleasing, simple melodic style fully explains the keen rivalry which ensued between the two. His London operas include Astarto (1720), Ciro, Crispo, Griselda (1722), Calpurnia (1724), and Astianatte (1727). His productivity was no less great in chamber music, of which he wrote ayres, various dance movements, divertimente da camera, and sonatas for strings and for clavecin. He fell into disrepute in England through the discovery that he had published a madrigal by Lotti as his own—strange as it may seem that his rival’s offenses in that direction passed without censure.
[146] Cf. Chap. XV.
[147] Nicola Porpora (see Vol. II, Chap. I) was made conductor of the rival opera, and as the teacher of Farinelli and nearly all the great singers of the time he was easily able to rally around himself a most formidable force of artists.
[148] We may remind the reader of the valiant efforts made by Dr. Pepusch and other Anglo-Germans against the English public’s absolute surrender to the Italian opera and Italian monody, holding out for the more serious contrapuntal music of the sixteenth century, and for the use of the native tongue. The immense success of Gay’s ‘Beggar’s Opera’ in 1728 was another proof of this demand for a native popular entertainment.
[149] Handbuch der Musikgeschichte, II².
[150] In ‘Deborah’ the overture for the first time becomes dramatically identified with the work itself. In it two of the choruses are utilized.