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Uncompromising as she was in every matter where religious principle was involved, she was always ready to avail herself of the true privileges of pleasure which her rank and position enabled her to enjoy. In this way she cultivated the acquaintance of many of the distinguished personages of her time. She was fond of music, and in early life had become acquainted with Handel.
It was within these walls that the notes of the Messiah first sounded in the ears of an enraptured audience, and here that its author entered on a new career of fame. To prepare for the reception of this, his master-work, Handel first gave a series of musical entertainments, consisting of some of his earlier oratorios, and other kindred compositions.
While in London, Salomon had shown him a poem founded on "Paradise Lost," written years before in the hope that Handel would use it for an oratorio. Haydn decided to try his hand at oratorio on this subject. As he went on, it grew to be a labor of love and prayer. It was finished and performed in Vienna, March 19, 1799, and made a profound impression.
He seemed to have hurt himself very much, for he gave another furious roar. "To have Provis for an upper lodger is quite a godsend to Mrs. Whimple," said Herbert, "for of course people in general won't stand that noise. A curious place, Handel; isn't it?" It was a curious place, indeed; but remarkably well kept and clean. "Mrs.
Theological though the subject is, the oratorio is as much a hymn to joy as the Ninth symphony; and there is in it far more of genuine joy, of sheer delight in living. Of the sense of sin the most cowardly illusion ever invented by a degenerate people there is no sign; where Bach would have been abased in the dust, Handel is bright, shining, confident, cocksure that all is right with the world.
He is the most likely person to have sent musical works of interest to Handel; possibly they were sent on loan, and returned after Handel had made the extracts which are to be seen in the Fitzwilliam Museum at Cambridge. Jephtha was produced on February 26, 1752.
To return to the guests. The Reverend Lemuel Whey is a tea-party man, with a curl on his forehead and a scented pocket-handkerchief. He ties his white neckcloth to a wonder, and I believe sleeps in it. He brings his flute with him; and prefers Handel, of course; but has one or two pet profane songs of the sentimental kind, and will occasionally lift up his little pipe in a glee.
His life covered an immense arch in the history of music. At his birth Handel was alive; at his death Beethoven, Schubert, and Weber had found refuge in the grave from the ingratitude of a contemporary public. He began his career by practicing Scarlatti's harpsichord sonatas; he lived to be acquainted with the finest piano-forte works of all time.
Our New York friends, after their recent experiences, will perhaps be slow to believe us when we say that the Portland choir sang this new work even better, in many respects, than the Handel and Haydn Society sing the old and familiar "Elijah"; but it is true.
One night Handel listened to a new opera from a young and unknown composer, the "Caduta de' Giganti," one of Gluck's very earliest works, written when he was yet corrupted with all the vices of the Italian method. "Mein Gott! he is an idiot," said Handel; "he knows no more of counterpoint then mein cook." Handel did not see with prophetic eyes.