Italian opera was the vogue just then in the English capital, but it was so badly produced that a man of Handel's genius was needed to properly set it before the people. He had not been long on English soil when he produced his opera "Rinaldo," at the Queen's Theater; it had taken him just two weeks to compose the opera. It had great success and ran night after night. There are many beautiful airs in "Rinaldo," some of which we hear to-day with the deepest pleasure.

"Lascia ch'jo pianga" and "Cara si's sposa" are two of them. The Londoners had welcomed Handel with great cordiality and with his new opera he was firmly established in their regard. With the young musician likewise there seemed to be a sincere affection for England.

He returned in due time to his duties in Hanover, but he felt that London was the field for his future activities.

It was not very long after his return to Germany that he sought another leave of absence to visit England, promising to return within a "reasonable time." London received him with open arms and many great people showered favors upon him. Lord Burlington invited him to his residence in Piccadilly, which at that time consisted of green fields.

The only return to be made for all this social and home luxury was that he should conduct the Earl's chamber concerts. Handel devoted his abundant leisure to composition, at which he worked with much ardor.

His fame was making great strides, and when the Peace of Utrecht was signed and a Thanksgiving service was to be held in St. Paul's, he was commissioned to compose a Te Deum and Jubilate. To show appreciation for his work and in honor of the event, Queen Anne awarded Handel a life pension of a thousand dollars.

The death of the Queen, not long after, brought the Elector of Hanover to England, to succeed her as George I. It was not likely that King George would look with favor on his former Capellmeister, who had so long deserted his post. But an opportunity soon came to placate his Majesty. A royal entertainment, with decorated barges on the Thames was arranged. An orchestra was to furnish the music, and the Lord Chamberlain commissioned Handel to compose music for the fete. He wrote a series of pieces, since known as "Water Music." The king was greatly delighted with the music, had it repeated, and learning that Handel conducted in person, sent for him, forgave all and granted him another pension of a thousand dollars. He was also appointed teacher to the daughters of the Prince of Wales, at a salary of a thousand a year. With the combined sum (three thousand dollars) which he now received, he felt quite independent, indeed a man of means.

Not long after this Handel was appointed Chapel master to the Duke of Chandos, and was expected to live at the princely mansion he inhabited. The size and magnificence of The Cannons was the talk of the country for miles around. Here the composer lived and worked, played the organ in the chapel, composed church music for the service and wrote his first English oratorio, "Esther." This was performed in the Duke's chapel, and the Duke on this occasion handed the composer five thousand dollars. Numerous compositions for the harpsichord belong to this period, among them the air and variations known as "The Harmonious Blacksmith." The story goes that Handel was walking to Cannons through the village of Edgeware, and being overtaken by a heavy shower, sought shelter in the smithy. The blacksmith was singing at his work and his hammer kept time with his song. The composer was struck with the air and its accompaniment, and as soon as he reached home, wrote out the tune with the variations. This story has been disputed, and it is not known whether it is true or not.

When Handel first came to London, he had done much to encourage the production of opera in the Italian style. Later these productions had to be given up for lack of money, and the King's Theater remained closed for a long time. Finally a number of rich men formed a society to revive opera in London. The King subscribed liberally to the venture. Handel was at once engaged as composer and impressario. He started work on a new opera and when that was well along, set out for Germany, going to Dresden to select singers. On his return he stopped at Halle, where his mother was still living, but his old teacher had pa.s.sed away.

The new opera "Radamisto" was ready early in 1720, and produced at the Royal Academy of Music, as the theater was now called. The success of the production was tremendous. But Handel, by his self-will had stirred up envy and jealousy, and an opposition party was formed, headed by his old enemy from Hamburg, Buononcini, who had come to London to try his fortunes. A test opera was planned, of which Handel wrote the third act, Buononcini the second and a third musician the first. When the new work was performed, the third act was p.r.o.nounced by the judges much superior to the second. But Buononcini's friends would not accept defeat, and the battle between all parties was violent. Newspapers were full of it, and many verses were written.

Handel cared not a whit for all this tempest, but calmly went his way.

In 1723, his opera "Ottone" was to be produced. The great singer Cuzzoni had been engaged, but the capricious lady did not arrive in England till the rehearsals were far advanced, which of course did not please the composer. When she did appear she refused to sing the aria as he had composed it. He flew into a rage, took her by the arm and threatened to throw her out of the window unless she obeyed. The singer was so frightened by his anger that she sang as he directed, and made a great success of the aria.

Handel's industry in composing for the Royal Academy of Music was untiring. For the first eight years from the beginning of the Society's work he had composed and produced fourteen operas. During all this time, his enemies never ceased their efforts to destroy him.

The great expense of operatic production, the troubles and quarrels with singers, at last brought the Academy to the end of its resources.

At this juncture, the famous "Beggar's Opera," by John Gay, was brought out at a rival theater. It was a collection of most beautiful melodies from various sources, used with words quite unworthy of them.

But the fickle public hailed the piece with delight, and its success was the means of bringing total failure to the Royal Academy. Handel, however, in spite of the schemes of his enemies, was determined to carry on the work with his own fortune. He went again to Italy to engage new singers, stopping at Halle to see his mother who was ill.

She pa.s.sed away the next year at the age of eighty.

Handel tried for several years to keep Italian opera going in London, in spite of the lack of musical taste and the opposition of his enemies; but in 1737, he was forced to give up the struggle. He was deeply in debt, his whole fortune of ten thousand pounds had been swept away and his health broken by anxiety. He would not give up; after a brief rest, he returned to London to begin the conflict anew.

The effort to re-awaken the English public's interest in Italian opera seemed useless, and the composer at last gave up the struggle. He was now fifty-five, and began to think of turning his attention to more serious work. Handel has been called the father of the oratorio; he composed at least twenty-eight works in this style, the best known being "Samson," "Israel in Egypt," "Jephtha," "Saul," "Judas Maccabaeus" and greatest of all, the "Messiah."

The composer conceived the idea of writing the last named work in 1741. Towards the end of this year he was invited to visit Ireland to make known some of his works. On the way there he was detained at Chester for several days by contrary winds. He must have had the score of the "Messiah" with him, for he got together some choir boys to try over a few of the choral parts. "Can you sing at sight?" was put to each boy before he was asked to sing. One broke down at the start.

"What de devil you mean!" cried the impetuous composer, s.n.a.t.c.hing the music from him. "Didn't you say you could sing at sight?"

"Yes sir, but not at _first_ sight."

The people of Dublin warmly welcomed Handel, and the new oratorio, the "Messiah," was performed at Music Hall, with choirs of both cathedrals, and with some concertos on the organ played by the composer. The performance took place, April 13, 1742. Four hundred pounds were realized, which were given to charity. The success was so great that a second performance was announced. Ladies were requested to come without crinoline, thereby providing a hundred more seats than at the first event.

The Irish people were so cordial, that the composer remained almost a year among them. For it was not till March 23, 1743, that the "Messiah" was performed in London. The King was one of the great audience who heard it. All were so deeply impressed by the Hallelujah chorus, that with the opening words, "For the Lord G.o.d omnipotent reigneth," the whole audience, including the King, sprang to their feet, and remained standing through the entire chorus. From that time to this it has always been the custom to stand during this chorus, whenever it is performed.

Once started on this line of thought, one oratorio after another flowed from his prolific pen, though none of them proved to be as exalted in conception as the "Messiah." The last work of this style was "Jephtha," which contains the beautiful song, "Waft her, angels."

While engaged in composing this oratorio, Handel became blind, but this affliction did not seem to lessen his power for work. He was now sixty-eight, and had conquered and lived down most of the hostility that had been so bitter against him. His fortunes also constantly improved, so that when he pa.s.sed away he left twenty thousand pounds.

The great composer was a big man, both physically and mentally. A friend describes his countenance as full of fire; "when he smiled it was like the sun bursting out of a black cloud. It was a sudden flash of intelligence, wit and good humor, which illumined his countenance, which I have hardly ever seen in any other." He could relish a joke, and had a keen sense of humor. Few things outside his work interested him; but he was fond of the theater, and liked to go to picture sales.

His fiery temper often led him to explode at trifles. No talking among the listeners could be borne by him while he was conducting. He did not hesitate to visit violent abuse on the heads of those who ventured to speak while he was directing and not even the presence of royalty could restrain his anger.

Handel was always generous in a.s.sisting those who needed aid, and he helped found the Society for Aiding Distressed Musicians. His last appearance in public, was at a performance of the "Messiah," at Covent Garden, on April 6, 1759. His death occurred on the 14th of the same month, at the house in Brook Street where he had lived for many years.

Thus, while born in the same year as Sebastian Bach, he outlived him by about a decade. He was buried in Westminster Abbey, and later a fine monument was erected to his memory. The most of his ma.n.u.scripts came into the possession of King George III, and are preserved in the musical library of Buckingham Palace.

IV

CHRISTOPH WILLIBALD GLUCK

Christoph Willibald Gluck has been called the "regenerator of the opera" for he appeared just at the right moment to rescue opera from the deplorable state into which it had fallen. At that time the composers often yielded to the caprices of the singers and wrote to suit them, while the singers themselves, through vanity and ignorance, made such requirements that opera itself often became ridiculous.

Gluck desired "to restrict the art of music to its true object, that of aiding the effect of poetry by giving greater expression to words and scenes, without interrupting the action or the plot." He wrote only operas, and some of his best works keep the stage to-day. They are simple in design yet powerful in appeal: very original and stamped with refinement and true feeling.

The boy Christoph, like many another lad who became a great musician, had a sorrowful childhood, full of poverty and neglect. His home was in the little town of Weissenw.a.n.gen, on the borders of Bohemia, where he was born July 2, 1714. As a little lad he early manifested a love for music, but his parents were in very straitened circ.u.mstances and could not afford to pay for musical instruction. He was sent to one of the public schools. Fortunately the art of reading music from notes, formation of scales and fundamentals, was taught along with general school subjects.

While his father lived the boy was sure of sympathy and affection, though circ.u.mstances were of the poorest. But the good man pa.s.sed away when the boy was quite young, and then matters were much worse. He was gradually neglected until he was at last left to shift for himself.

He possessed not only talent but perseverance and the will to succeed.

The violoncello attracted him, and he began to teach himself to play it, with no other help than an old instruction book. Determination conquered many difficulties however, and before long he had made sufficient progress to enable him to join a troop of traveling minstrels. From Prague they made their way to Vienna.

Arrived in Vienna, that rich, gay, laughter-loving city, where the people loved music and often did much for it, the youth's musical talent together with his forlorn appearance and condition won sympathy from a few generous souls, who not only provided a home and took care of his material needs, but gave him also the means to continue his musical studies. Christoph was overcome with grat.i.tude and made the best possible use of his opportunities. For nearly two years he gave himself up to his musical studies.

Italy was the goal of his ambition, and at last the opportunity to visit that land of song was within his grasp. At the age of twenty-four, in the year 1738, Gluck bade adieu to his many kind friends in Vienna, and set out to complete his studies in Italy. Milan was his objective point. Soon after arriving there he had the good fortune to meet Padre Martini, the celebrated master of musical theory. Young Gluck at once placed himself under the great man's guidance and labored diligently with him for about four years. How much he owed to the careful training Martini was able to give, was seen in even his first attempts at operatic composition.

At the conclusion of this long period of devoted study, Gluck began to write an opera, ent.i.tled "Artaxerxes." When completed it was accepted at the Milan Theater, brought out in 1741 and met with much success.

This success induced one of the managers in Venice to offer him an engagement for that city if he would compose a new opera. Gluck then produced "Clytemnestra." This second work had a remarkable success, and the managers arranged for the composition of another opera, which was "Demetrio," which, like the others was most favorably received.

Gluck now had offers from Turin, so that the next two years were spent between that city and Milan, for which cities he wrote five or six operas. By this time the name of Gluck had become famous all over Italy; indeed his fame had spread to other countries, with the result that tempting offers for new operas flowed in to him from all directions. Especially was a London manager, a certain Lord Middles.e.x, anxious to entice the young composer from Italy to come over to London, and produce some of his works at the King's Theater in the Haymarket.

The n.o.ble manager made a good offer too, and Gluck felt he ought to accept. He reached London in 1745, but owing to the rebellion which had broken out in Scotland all the theaters were closed, and the city in more or less confusion. However a chance to hear the famous German composer, who had traveled such a distance, was not to be lost, and Lord Middles.e.x besought the Powers to re-open the theater. After much pleading his request was finally granted. The opening opera, written on purpose to introduce Gluck to English audiences, was ent.i.tled "La Caduta del Giganti,"--"Fall of the Giants"--and did not seem to please the public. But the young composer was undaunted. His next opera, "Artamene," pleased them no better. The mind of the people was taken up at that period with politics and political events, and they cared less than usual for music and the arts. Then, too, Handel, at the height of his fame, was living in London, honored and courted by the aristocracy and the world of fashion.

Though disappointed at his lack of success, Gluck remained in England several years, constantly composing operas, none of which seemed to win success. At last he took his way quietly back to Vienna. In 1754, he was invited to Rome, where he produced several operas, among them "Antigone"; they were all successful, showing the Italians appreciated his work. He now proceeded to Florence, and while there became acquainted with an Italian poet, Ranieri di Calzabigi. They were mutually attracted to each other, and on parting had sworn to use their influence and talents to reform Italian opera.

Gluck returned to Vienna, and continued to compose operas. In 1764, "Orfeo" was produced,--an example of the new reform in opera! "Orfeo"

was received most favorably and sung twenty-eight times, a long run for those days. The singing and acting of Guadagni made the opera quite the rage, and the work began to be known in England. Even in Paris and Parma it became a great favorite. The composer was now fifty, and his greatest works had yet--with the exception or "Orfeo"--to be written. He began to develop that purity of style which we find in "Alceste," "Iphigenie en Tauride" and others. "Alceste" was the second opera on the reformed plan which simplified the music to give more prominence to the poetry. It was produced in Vienna in 1769, with the text written by Calzabigi. The opera was ahead of "Orfeo" in simplicity and n.o.bility, but it did not seem to please the critics.

The composer himself wrote: "Pedants and critics, an infinite mult.i.tude, form the greatest obstacle to the progress of art. They think themselves ent.i.tled to pa.s.s a verdict on 'Alceste' from some informal rehearsals, badly conducted and executed. Some fastidious ear found a vocal pa.s.sage too harsh, or another too impa.s.sioned, forgetting that forcible expression and striking contrasts are absolutely necessary. It was likewise decided in full conclave, that this style of music was barbarous and extravagant."

In spite of the judgment of the critics, "Alceste" increased the fame of Gluck to a great degree. Paris wanted to see the man who had revolutionized Italian opera. The French Royale Academie had made him an offer to visit the capital, for which he was to write a new opera for a debut. A French poet, Du Rollet, living in Vienna, offered to write a libretto for the new opera, and a.s.sured him there was every chance for success in a visit to France. The libretto was thereupon written, or rather arranged from Racine's "Iphigenie en Aulide," and with this, Chevalier Gluck, lately made Knight of the papal order of the Golden Spur, set out for Paris.

And now began a long season of hard work. The opera "Iphigenie"

took about a year to compose, besides a careful study of the French language. He had even more trouble with the slovenly, ignorant orchestra, than he had with the French language. The orchestra declared itself against foreign music; but this opposition was softened down by his former pupil and patroness, the charming Marie Antoinette, Queen of France.

After many trials and delays, "Iphigenie" was produced August 19, 1774. The opera proved an enormous success. The beautiful Queen herself gave the signal for applause in which the whole house joined.

The charming Sophie Arnould sang the part of Iphigenie and seemed to quite satisfy the composer. Larrivee was the Agamemnon, and other parts were well sung. The French were thoroughly delighted. They feted and praised Gluck, declaring he had discovered the music of the ancient Greeks, that he was the only man in Europe who could express real feelings in music. Marie Antoinette wrote to her sister: "We had, on the nineteenth, the first performance of Gluck's 'Iphigenie,' and it was a glorious triumph. I was quite enchanted, and nothing else is talked of. All the world wishes to see the piece, and Gluck seems well satisfied."

The next year, 1775, Gluck brought out an adaptation suitable for the French stage, of his "Alceste," which again aroused the greatest enthusiasm. The theater was crammed at every performance. Marie Antoinette's favorite composer was again praised to the skies, and was declared to be the greatest composer living.

But Gluck had one powerful opponent at the French Court, who was none other than the famous Madame du Barry, the favorite of Louis XV. Since the Queen had her pet musical composer, Mme. du Barry wished to have hers. An Italian by birth, she could gather about her a powerful Italian faction, who were bent upon opposition to the Austrian Gluck.

She had listened to his praises long enough, and the tremendous success of "Alceste" had been the last straw and brought things to a climax. Du Barry would have some one to represent Italian music, and applied to the Italian amba.s.sador to desire Piccini to come to Paris.

On the arrival of Piccini, Madame du Barry began activities, aided by Louis XV himself. She gathered a powerful Italian party about her, and their first act was to induce the Grand Opera management to make Piccini an offer for a new opera, although they had already made the same offer to Gluck. This breach of good faith led to a furious war, in which all Paris joined; it was fierce and bitter while it lasted.

Even politics were forgotten for the time being. Part of the press took up one side and part the other. Many pamphlets, poems and satires appeared, in which both composers were unmercifully attacked. Gluck was at the time in Germany, and Piccini had come to Paris princ.i.p.ally to secure the tempting fee offered him. The leaders of the feud kept things well stirred up, so that a stranger could not enter a cafe, hotel or theater without first answering the question whether he stood for Gluck or Piccini. Many foolish lies were told of Gluck in his absence. It was declared by the Piccinists that he went away on purpose, to escape the war; that he could no longer write melodies because he was a dried up old man and had nothing new to give France.

These lies and false stories were put to flight one evening when the Abbe Arnaud, one of Gluck's most ardent adherents, declared in an aristocratic company, that the Chevalier was returning to France with an "Orlando" and an "Armide" in his portfolio.

"Piccini is also working on an 'Orlando,'" spoke up a follower of that redoubtable Italian.

"That will be all the better," returned the abbe, "for we shall then have an 'Orlando' and also an 'Orlandino.'"