Volume 6 — Abridged from the German. The Composer's Difficulty.

The good old custom in London, in 1741, was for the members of the —— Club to assemble in the parlor of a noted tavern in Fleet street, kept by Master Farren, who had a sharp-tongued wife and a young and lovely daughter. This young girl had been setting the large room in order, and putting fresh flowers in the vase, in preparation for the expected guests, when the door opened softly, and a young man came in. Ellen did not look up till he was close to her, then she started and blushed crimson, while he took her hand and kissed it with the air of a cavalier.

"I did not know it was you, Joseph," faltered the maiden.

"I can stay but a moment," said the young student of music, "for they will all be here presently. I came to tell you to come to the garden without fail this evening; I want to give you a first lesson, in a new part."

Ellen's face brightened. Just then a shrill voice called her name, and she knew her mother would be angry if she saw her with the German, Joseph Wach.

"I will come!" she answered quickly. "Now I must leave you." And she ran out at a repetition of the shrewish call. Joseph did not attempt to detain her; though the two loved each other well he knew that Dame Farren regarded him with good will no longer, now that Master Handel, his teacher and patron, no longer stood high in the king's favor, and went no more to Carlton House. The father, old John Farren, was still the friend of the young man.

An hour later, and the round table, on which stood mugs of porter and glasses, was surrounded by men, members of the musical club, conversing on a subject deeply interesting to them all. One of them—a very tall man, with large, flashing eyes and a noble and expressive countenance—was addressed as "Master Handel;" another, simple in his dress and plain in his exterior, with a world of shrewdness and waggery in his laughing eyes, was William Hogarth, the painter.

They were talking about the composer's great work, The Messiah, which Handel had not as yet been able to get properly represented. Hogarth was urging an application to the Duke of Bedford. Handel, disgusted at his want of success hitherto, was reluctant to sue for the favor of any patron to have his best work brought before the public.

"If his grace only comprehended a note of it!" he exclaimed petulantly; "but he knows no more of music than that lout of a linen-weaver in Yorkshire."

"Whom you corrected with your fist, when he blundered with your Saul!" cried the painter. "You should have learned better policy, my good master, from your eight-and-twenty years in England! A stupid, great nobleman can do no harm to a work of art! If I dealt only with those who understood my work, my wife and children might starve."

Handel was leaning on the table, his face buried in his hands. His thoughts were wandering toward Germany. When he spoke, it was to express his bitter regret that he had left his fatherland just as new life in art began to be stirring. While the Germans achieved greatness in music, he had been tormenting himself in vain with dolts of singers and musicians in England, whose hard heads could not take in a notion of music! "I will return to Germany!" he concluded. "Better a cowherd there than here director of the Haymarket Theatre, or chapelmaster to his majesty, who, with his court rabble, takes such delight in the warblings of that foppish Italian—Farinelli."

Some other members came in to join them, among them the young German, Joseph Wach. Handel nodded kindly to him, and asked how he was getting on with his part.

"I am very industrious, Master Handel, and will do my best," replied Joseph. "You shall hear me soon."

The conversation about the new work was resumed. The Abbé Dubos described how the chorus, "The glory of the Lord shall be revealed," had sounded all night in his ears. "Your glory, Master Handel, will be revealed through your Messiah when once you can get it brought out. I understand the lord archbishop is against it!"

The flush of anger rushed to Handel's brow. "The lord archbishop!" he repeated scornfully. "He offered to compose me a text for the Messiah, and when I asked if he thought I knew nothing of the Bible, or if he expected to improve the Holy Scriptures, he turned his back on me, and represented me to the court as a rude, thankless boor."

Master Tyers, the lessee of Vauxhall, remarked that it was not politic to speak one's mind too openly, especially with the great. Dr. Hualdy tried to soothe the irritated composer by speaking of the admiration he had already won, after a long struggle with ignorance and intrigue.

"What care I," interrupted Handel, "for the admiration of fools and knaves!"

There were many to give the "soft answer" which "turneth away wrath," and to deprecate too severe a judgment of the English people because they had accomplished little in the glorious art and failed at once to recognize the best. "Admitting," added the abbé, "that the court and nobles have done you injustice; that we have no such musicians and singers as in Germany; that we cannot grasp all the grand spirit of your works, are you not, nevertheless, idolized by the people of Britain? Lives not the name of Handel in the mouth of honest John Bull, cherished as the names of his proudest statesmen! Give him, then, a little indulgence! Let us have a chance to hear your Messiah; condescend to ask the aid you need in bringing it out; your honor will not suffer, and the good you will do will be your reward!"

"That is just what I have told him!" exclaimed Hogarth. And the others chimed in their eager assent. Even the burly host coaxed him, and, by way of argument, said: "You know, Master Handel, how often I have to bend to my good woman; yet it is no detriment to my authority as master of the house."

Handel sat silent for a time, looking gloomily around the circle. Then suddenly he burst into a laugh. "By my halidome, old fellow," he cried, "you are right! To-morrow I will go to the Duke of Bedford. You shall hear the Messiah, were all the rascals in the three kingdoms against it!"

There was a burst of delighted applause from all the company. The fat landlord gave a leap of joy, and Joseph clasped his hands; for he knew Handel's success would be the making of his own and Ellen's fortune.

Handel waited on the Duke of Bedford, who happened to be giving a grand breakfast. The duke prized the reputation of a patron of the arts, and knew well that Handel's absence from court and the circles of the nobility was owing more to his disregard of the forms and ceremonies held indispensable than to any want of esteem for the composer. His oratorio of Saul had won him proud distinction. When informed that Handel had called on him, the duke himself came out to welcome him and lead him into the drawing-rooms. But the composer drew back, saying he had come to solicit a favor. The duke then took him into his cabinet, and listened graciously to his petition that he "would be pleased to set right the heads of the Lord Mayor and the Archbishop of London, so that they should cease laying hindrances in the way of the representation of the Messiah."

The duke not only listened, but promised to use all his means and influence to remove the obstacles. Handel knew he could depend on the promise. He accepted the invitation to join the company with joy, when he heard that his celebrated countryman, Kellermann, was there and engaged in the duke's service.

His grace led in and introduced his distinguished guest. The sight of the great composer produced a sensation. Handel cared nothing for the noble company, but greeted his old friend Kellermann with all the warmth of his nature. They had a cordial talk together, while the idol of the London fashionables, Signor Farinelli, hemmed and cleared his throat over the piano, in token that he was about to sing, and wanted Kellermann to accompany him. The musician at length noticed his uneasiness, pressed his friend's hand, returned to his place, and took up his flute, while Farinelli began a melting air in his sweet, clear voice.

Handel, a powerful man, austere and vigorous in nature, abhorred the singing of such effeminate creatures, and despised the luxurious ornamentation of the Italian's style. Farinelli's soft trilling was accompanied by Kellermann on the flute with dexterous imitation. Handel laughed inwardly to see the effect on the company. The ladies were in raptures; and, when Farinelli ceased, the most eager applause rewarded him.

The duke introduced the Italian to Handel. Farinelli complimented him in broken English, said he had heard that "Signor AEndel had composed una opera—il Messia," and begged to know, with a complacent smile, if there would be a part in the opera for "il famous musico Farinelli?"

Handel surveyed the ornamented little figure from head to foot, and answered in his deepest bass tone, "No, signora."

There was suppressed laughter, and the ladies covered their faces. Not long afterward Handel took his leave, with his friend Hogarth, who was a guest.

The Messiah was announced for representation. But an unexpected difficulty presented itself. The lady who had been engaged to sing the first soprano part sent word that she was ill and could not sing; and the oratorio had to be postponed.

Handel knew it was mere caprice on the part of the spoiled prima-donna, and was excessively indignant. When he heard from the leader of the orchestra that a second postponement might be necessary, he roundly declared it should not be. "It shall take place!" he exclaimed, and set off to call upon the signora himself.

Signora Lucia, the Italian vocalist, that morning held a levée of her admirers. Their conversation, as she reclined on a couch in a graceful déshabillé, was of "il barbaro Tedesco," his unreasonable expectations, and the pleasure the beautiful singer took in disappointing him. "He dared to order me about at rehearsal!" she cried. "For that, he shall not have his troublesome oratorio performed at all!" The gentlemen applauded her spirit. Then it was related how the fair singer Cuzzoni had refused to sing some music in Handel's opera, and he had gone to her room, seized her, and, rushing to the open window, had held her out at arms' length, threatening to drop her unless she promised to sustain her part.

"He shall find me harder to deal with," said the beauty languidly. Just then the name of the great composer was announced, and Handel's heavy step was heard in the hall. The gentlemen visitors huddled themselves off in such confusion, they could only retreat behind the couch, drawing the damask curtain over the recess so as to conceal them.

Lucia was uneasy, but maintained her composure. Handel, however, had not come, as she expected, to entreat her to sing. He stood near the door, and, vouchsafing no salutation, haughtily demanded her part.

The singer made no answer, and Handel strode forward. Lucia sprang up, seized the bell, and rang it violently, but not one of her admirers answered the call. Handel advanced, and coolly lifted the curtain behind the sofa, revealing the group of terrified Italians. He laughed scornfully, and again demanded her part of the signora.

In unutterable passion, she snatched up a roll of music from the table and flung it at the composer. He picked it up, bowed ironically, and walked out of the room. The anger of Lucia with her cowardly friends who had not interfered to avenge this insult, and their confusion, may be imagined.

Handel had punished the capricious singer, but he could find no one to take her place. His friends sympathized in his distress, but could offer no aid nor consolation. Hogarth thought he underrated the Italians, and was too conceited. "You remember," he said, "when Correggio's Leda was sold in London at auction for ten thousand guineas, I said, 'I will paint something as good for such a sum.' Lord Grosvenor took me at my word, I painted my picture, and he called his friends together to look at it. They all laughed at me, and I had to take back my picture."

Handel replied that the old Italian painters were worthy of all respect, and so were the old Italian church composers. The modern ones he thought, in their way, more or less like Signor Farinelli.

The day before the oratorio was to be produced Handel sat in his study reviewing the work. Now he would smile over a passage, now pause over something that did not satisfy him, pondering, striking out, and altering to suit his judgment. At length his eyes rested on the last "Amen," long, long, till a tear fell on the leaf.

"This work," he said solemnly, and looking upwards, "is my best! Receive my best thanks, O benevolent Father! Thou, Lord! hast given it me; and what comes forth from thee, that endureth, though all things earthly perish. Amen."

He laid aside the notes, and walked a few times up and down the room, then seated himself in his easy-chair. His pupil, Joseph, opened the door softly and came in. Handel started from his reverie, and asked what he wanted. The young man, with an air of mystery, begged the master to come with him.

In a few moments they were in a room in the upper story of Master Farren's tavern, a room where Joseph practised his music. There, to Handel's no small astonishment, he saw the host's pretty daughter, Ellen.

"What may all this mean?" he asked, while his brow darkened. "What do you here, Miss Ellen, in this young man's study?"

"He may tell you that himself, Master Handel," answered the damsel, turning away her blushing face.

Joseph hastened to say, "I am ready to answer, dear master, for what we do."

"Open your mouth, and speak, then," said Handel sternly.

"You have done much for me, dear master," said Joseph with emotion. "When I came a stranger and penniless, you put me in the way of earning a support. You gave me instruction in music and singing, spending hours you might have given to doing something great."

"And does the fool think making a good singer was not doing something great—eh?"

"And I have tried to make a singer for you!" said the young man. "Will you hear her?" And he pointed to Ellen.

Handel, in his surprise, opened his eyes wide as he looked at the damsel.

"Yes—Ellen!" she repeated, coming close to him, and lifting her clear, hazel eyes to his face. "Now you know, Master Handel, what Joseph and I have been about, and for what I am here in his study."

"We wanted to be of service in your dilemma," said Joseph. "Shall Ellen sing before you, Master Handel?"

Handel seated himself: "I am curious to see how your teaching has succeeded," he said. "Come, let her begin."

Joseph went to the piano, and Ellen stood beside him.

The part she took was that of the first soprano, the one taken from Signora Lucia. Handel started as the young girl's voice rose, clear, silvery, floating—a voice of the purest quality! How he listened when he heard the most splendid portion of his forthcoming work—the glorious air, "I know that my Redeemer liveth"—and how Ellen sang it may be conjectured when, after she had ceased, the composer sat motionless, a happy smile on his lips, his eyes full of tears. At length he drew a deep breath, arose, kissed the maiden's forehead, kissed her eyes, in which also bright drops were glancing, and said with profound feeling: "Ellen, my good—good child—you will sing this part to-morrow at the representation?"

"Master Handel! Father Handel cried the maiden, and threw herself, sobbing, on his neck. Joseph rattled off a jovial air to cover his emotion.

"Amen!" resounded through the arches of the church, and died away in whispered melody in its remotest aisles. "Amen!" responded Handel, while he slowly let fall the staff with which he had kept time. His immortal masterpiece had produced an immense impression: his fame was established for all time.

When the great composer descended the church steps, he was informed that his majesty had sent for him, and that a carriage was waiting, by the royal command, to convey him to Carlton House.

George the Second received the artist with a gracious welcome, and he read his triumph in the faces of the court nobles.

"You have made us a noble present in your Messiah, Master Handel," said the monarch. "It is a brave piece of work!"

"Is it?" asked the composer, looking in the king's face, and well pleased.

"It is, indeed," replied George. "And now, tell me what I can do for you."

"If your majesty," answered Handel, "will give a place to the young man who sang the tenor solo part, I shall be grateful. Joseph Wach is my pupil, and he has a pupil too, Master Farren's daughter; but they cannot marry till Joseph finds a place. The old dame will not consent, and your majesty knows the women bear rule."

The king's smile was a forced one, for a sore point in his experience was touched. "I know nothing of the sort," he said. "But your pupil shall have a place as first tenor in our chapel."

Handel thanked his majesty with sincere pleasure. The king seemed to expect him to ask more.

"Have you nothing," at length he said, "to ask for yourself? We would thank you, in your own person, for the fair entertainment provided in your Messiah."

Handel crimsoned as he heard this, and he answered in a tone of disappointment: "Sire, I have endeavored not to entertain you, but to make you better."

All the courtly company looked their astonishment. Even King George was surprised. Then, bursting into a hearty fit of laughter, he walked up to the composer and slapped him good-naturedly on the shoulder. "You are, and ever will be, a rough old fellow, Handel," said he; "but a good fellow withal! Do as you will, we shall always be the best friends in the world!"

Handel retired from the audience, and was glad to escape to his favorite haunt, Master Farren's tavern. Joseph and Ellen were there, awaiting his return. His news brought them great joy.

In the last years of Handel's life, when his sight failed him, it was Ellen who nursed him faithfully as if she had been his own child, while her husband wrote down his last compositions.