Morris tribune., 1906-12-22


and acquired skill in composing for
the voice. AS a composer of Italian
peras he was welcomed in London,
first giving "Rinaldo" which at once
be came extremely popular. A jour-
nal of the day says that arias from it
were thrummed on the harpsichord
from Lands End to John o. CIRCUITS.
His ''Te Deum" celebrating the treaty
of Utrecht won him pension from
Queen Ann.
He was for time in the service of
the Duke of Chandos, who lived in
marble palace, in regal state. Here
he presided in the chapel over a large
choir, a band of instrumental per-
for mers and a fine organ, He laid
aside the anthems and service of his
predecessors and wrote tie Deums"
and the II celebrated Chandas An
thems. During his stay there he also
wrote the pastoral 'Acis" and "Gala-
tea" and in first oratorio in English
words, esther"
A little later came his rivalry with
the famous Italian composer Buonon-
cine which brought forth the lines at
tributed to Dean Swift,
"Some say, compared toBuononcine,
That Mynheer Handles but ninny;
Others aver that he to Handel,
Is scarcely fit to hold candle;
Strange all this difference should
be,
Twixt Tweedle dunn and Tweedle-
die"
Of more serious consequences we're
the rivalries between him and other
managers and producers Of operas
during the busy 20 years in which he
gave lessons, composed songs, arias
and operas, managed theaters, operas
and concerts and made and lost for
tunes. His lack of financial success
was not due to the inferiority of his
work, his rival companies were also
dissolved because of lack of public
support. Bold and self assertive
Handel Wonld not bow his German
head to submit to the whims and
fancies Of the aristocracy nor the cap
rices of his singers, no matter whom
they might be. 1t is said that even
at the concerts of the Of the
Princess of Wales Handel would use
language not usually heard at court
when irritated by the talking of the
ladies while the program was being
given. He once sliced an astonished
prima donna who refused to sing as
he directed when a rehearsal was 60
ing on in a third story room, dragged
her TO window and as he held her
out at arms length cried "You will
sing or | shall drop you" 1t is care
fully stated that she thereafter always
tried to please him.
Again we read of his throwing
basso profundo who continually sang
off the key thru closed window.
This fortunately for the basso was not
from the third story.
After his 50th birthday tired of sett-
ing music to the trivial subjects SO
common in opera. Handel suddenly
dropped that form of composition and
devoted himself to sacred music 'as
becomes a man descending into the
vale of years"
His operas are now seldom given.
His fame rests On his oratorios
ttmusieal dramas on scrlptural sub
iects, uniting the solemnity of church
music with the pleasing arias of the
STAGE" In creating the oratorio form
of music, Handel changed himself
from an entertainer to an artist, ex-
pressing the deep religious feeling of
the English people in Interpreting the
sufferings and aspirations Of the He
brew nation. His oratorios are strong
in dramatic power, bold in orchestral
composition, rich in harmonies.
Many touches of tone color credited
to modern composers may be traced
to Handel's works. Sir Arthur Sulli-
van says 'tMusical England owes more
to Father Handel than TO any 10 men
who can be mentioned. AS Handel
influenced English fife by his music
he was in turn greatly Influenced by
En- ylish poetry as he set 70 music the
words of Pope, Milton, Dryden and
others.
He was a rapid writer. The colossal
Israel in Egypt" was written in n
days: the ''Messiah' in "a days. He
wrote in all 10 English oratorio's, over
SO operas besides many other COM
positions besides ones for organ and
harpsichord "Theodora, he consider
ed his best work. Sampson "Judas
Maccabaesn s'Saulu ''Tsrael IN Egypt"
and the ''Messiah' still hold their
places in modern repertoire. The
stMessia h7' is the most farfiItartO us Tt