Musical Myths and Facts, Volume 2 (of 2). Engel Carl

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produced another opera, called 'Daphne,' which was the fourth of those he wrote for Hamburg, and which appears to be unknown to his biographer, as he omits it entirely. Has the man not had trustworthy sources for information?13 Howbeit, the dozen mistakes is complete, and we merely remark in addition, that in 1708 Handel was not 15 years of age, but quite 24. This error calculi may be regarded as a master stroke. Did we not know with certainty that George Frederick Handel died anno 1759, on the fourteenth of April, at the age of 76,14 and we had to rely upon this blundering prosaic Homer for information respecting our musical Achilles, he would have remained constantly fifteen years, perhaps even imberbis until he came to the grave, and our barber in Hamburg, who every alternate day attended him, during five or six years, would have gained his money wrongfully. If an Englishman thinks that he can entertain us with his dreams in his mixture-language, he must be prepared for an answer from us in our heroic language. We understand him well, and have learnt his tongue; if he does not understand us, he may still learn this too… Having observed Handel during his sojourn in Hamburg, we leave the celebrated man to the Italians and the English; but we do not believe that the moon is made of green cheese."

      Mainwaring (P. 42). "Four or five years had elapsed from the time of his coming to Hamburg to that of his leaving it."

      Mattheson. "Should say five or six."

      Mainwaring (P. 42). "Instead of being chargeable to his mother he began to be serviceable to her before he was well settled in his new situation. Though he had continued to send her remittances from time to time, yet, clear of his own expenses, he had made up a purse of 200 ducats. On the strength of this fund he resolved to set out for Italy."

       Mattheson. "Anno 1709 he was still in Hamburg, but did nothing.15 Then there occurred the opportunity of his travelling with Herr von Binitz to Italy, free of expense; and in 1710 he had his 'Agrippina' performed at Venice."

      Mainwaring (P. 44). "The very first answer of the fugue in the overture for 'Mucius Scævola' [an opera by Handel] affords an instance of this kind [viz., a musical licence]. Geminiani, the strictest observer of rule, was so charmed with this direct transgression of it that, on hearing its effect, he cried out Quel semitono (meaning the F-sharp) vale un mondo!"

      Mattheson. "What does that prove? Nothing!"

      Mainwaring (P. 50). "At the age of eighteen he made [at Florence] the opera of Rodrigo, for which he was presented with 100 sequins and a service of plate."

      Mattheson. "Actually an intentional miscalculation of eight years!"

      Mainwaring (P. 52). "In three weeks he finished [at Venice] his 'Agrippina,' which was performed twenty-seven nights successively."

      Mattheson. "In the year 1709, at his departure from Hamburg, Handel was 25 years old. He resided a year in Florence before he went to Venice, where he had his 'Agrippina' performed at the theatre of St. Gio Crisostomo, during the Carnival in 1710. Now, let him calculate who can, and convince himself whether this makes, from February 24th, 1684, eighteen years, as our biographer says, or whether it amounts to twenty-six."

      Mainwaring (P. 74). "It was in the winter of the year 1710 when he arrived at London."

       Mattheson. "In this year he performed his 'Agrippina' at Venice, and in 1709 he was still in Hamburg."16

      Mainwaring (P. 74). "During this period scarce a mail arrived from Holland which did not bring some fresh accounts of victories or advantages gained by the English hero [Marlborough] over the armies of a monarch but lately the terror of Europe, though now the scorn of every Dutch burgomaster."

      Mattheson. "What a Frenchman may say to this is his own concern. In Handel's biography it is lugged in; and such scurrilities reveal an ignoble heart."

      Mainwaring (P. 88). "Our business is not to play the panegyrist but the historian."

      Mattheson. "If you know that, blessed are you if you act upon it."

      Mainwaring (P. 110). "Having one day some words with Cuzzoni on her refusing to sing Falsa imagine in 'Ottone': 'Oh! Madame,' Handel said, 'je scais bien que vous êtes une véritable diablesse; mais je vous ferai scavoir, moi, que je suis Beelzebub, le chef des diables!' With this he took her up by the waist, and swore that if she made any more words he would fling her out of the window. It is to be noted that this was formerly one of the methods of executing criminals in some parts of Germany, a process not unlike that of the Tarpeian rock, and probably derived from it."

      Mattheson. "This heroic deed was undoubtedly accomplished unawares. Who could face such a woman with her claws? The Quixotic story with its ingenious reference to the Tarpeian rock, and to criminal processes, testify to the author's extensive reading in law and history. Whoever can read it without a smile is commendable, especially if he is a German, better informed and phlegmatic."

      Mainwaring (P. 115). "The little taste he [Handel] had already had of adversity lessened that self-confidence which success is apt to inspire. He found that it was not the necessary consequence of great abilities, and that without prudence the greatest may be almost annihilated in the opinions of men."

      Mattheson. "To this the British proverb applies: 'Give a man luck and throw him into the Thames.'"

      Mainwaring (P. 116). "He now removed to Covent-garden, and entered into partnership with Rich, the master of that house. Hasse and Porpora were the composers at the Haymarket. When the former was invited over, it is remarkable that the first question he asked was whether Handel was dead. Being answered in the negative he refused to come, from a persuasion that where his countryman was – for they were both Saxons by birth – no other person of the same profession was likely to make any figure."

      Mattheson. "This agrees with a remark of mine before made. Hasse was born in Bergedorf, a small town belonging to Hamburg and Lübeck in common; he is, therefore, a Lower-Saxon of the highest type… However, the reason why these two Saxons did not wish to encroach upon each other's precincts was a very different one from that indicated by our biographer."

      Mainwaring (P. 132). "Dublin has always been famous for the gaiety and splendour of its court, the opulence and spirit of its principal inhabitants, the valour of its military, and the genius of its learned men. Where such things were held in esteem he [Handel] rightly reckoned that he could not better pave the way to his success than by setting out with a striking instance and public act of generosity and benevolence. The first step that he made was to perform his Messiah for the benefit of the city-prison."

      Mattheson. "On a beau être généreux et liberal, quand il n'en coute que des chansons, et que d'autres payent les violons; c'est en bon allemand: Mit der Wurst nach dem Schinken werfen ('To throw the sausage at the ham')."

      Mainwaring (P. 135). "The Foundling Hospital [in London] originally rested on the slender foundation of private benefactions. At a time when this institution was yet in its infancy; when all men seemed to be convinced of its utility; when nothing was at all problematical but the possibility of supporting it; – Handel formed the noble resolution to lend his assistance, and perform his Messiah annually for its benefit. The sums raised by each performance were very considerable, and certainly of great consequence in such a crisis of affairs. But, what was of much greater, was the magic of his name and the universal character of his sacred drama."

      Mattheson. "Notes were his magic, or his black-art."

       Mainwaring (P. 137). "So that it may truly be affirmed that one of the noblest and most extensive charities that ever was planned by the wisdom, or projected by the piety of men, in some degree owes its continuance as well as prosperity to the patronage of Handel."

      Mattheson. "By this he was not out of pocket; it rather brought him credit, which is better than money."

      Mainwaring (P. 138). "In the year 1751 a gutta serena deprived him of his sight. This misfortune sunk him for a time into the deepest despondency. He could

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