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Updated: May 16, 2025
For the general reader, perhaps, M. Schoelcher has been drawn too far into detail, and some passages of his work might have been better reserved for his "Catalogue of Handel's Works"; but these details are of the highest value to the student of musical literature, and, indeed, form for him the principal charm of the work.
The following anecdote does equal credit to Hasse's heart and penetration: In after-years, when he had left England, he was again sent for to take Handel's place as conductor of opera and oratorio. Hasse inquired, "What! is Handel dead?" On being told no, he indignantly refused, saying he was not worthy to tie Handel's shoe-latchets. There are also Dr. Pepusch, the Anglicized Prussian, and Dr.
He is mentioned in a theatrical manifesto of 1708 as being already "beloved and celebrated in Italy"; Barthold Feind, one of the Hamburg librettists, who in 1715 translated Handel's Rinaldo, called him "the incomparable Handel, the Orpheus of our time"; and from 1715 to 1734 almost all of Handel's London operas were represented on the Hamburg stage.
She looked around shyly to see whether perchance her friend of the desert might be sitting near, but no familiar face met her gaze. Then she settled back, and gave herself up to delight in the service. The organ was playing softly, low, tender music. She learned afterward that the music was Handel's "Largo."
Alcina carried the Opera on to the end of the season, the well-known air "Verdi prati," which Carestini had at first refused to sing, being encored at every performance. Handel's alleged angry retort to Carestini in comical broken English has been often quoted from Burney; but Schoelcher very sensibly observed that Handel was pretty certain to have conversed with Carestini in Italian.
It is possible that the music of Wagner may eventually become serene like the music of Handel; but was the music of Handel ever morbid like the music of Wagner? I do not base my belief on any preference from Handel's contemporaries. We may, as we are constantly being told, be degenerates; but there was no special grace whence to degenerate in our perruked forefathers.
What the theatre manager demanded of Purcell was a piece of music to occupy the audience before the curtain went up; and Purcell wrote it. There are songs and dances of a rare quality, and the biggest thing of all is the chorus, "Let all rehearse," which rivals Handel's "Fixed in his everlasting seat," a plain copy of it, down to many small points.
At the time when Handel arrived in London the opera company had migrated from Drury Lane to Vanbrugh's new theatre in the Haymarket, where it was under the management of Aaron Hill, an enterprising young man of Handel's own age who was ready to pursue any sort of career that chance might offer him, whether in literature, music, or business adventure.
They sauntered in presently, but Marilyn was already at the piano playing softly a bit from the Angel Chorus, a snatch of Handel's Largo, a Chopin Nocturne, one of Mendelssohn's songs without words. The two came in hilariously, the young man pretending to lean heavily on the girl, and finding much occasion to hold her hands, a performance to which she seemed to be not at all averse.
Handel's secular oratorios are different from anything else in the world. They are neither oratorios, nor operas, nor cantatas; and the plots are generally quaint. Some years ago it occurred to me one morning that a trip by sea to Russia might be refreshing; and that afternoon I started in a coal-steamer from a northern seaport.
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