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of the father's patrons, was met by careful instruction under the organist Zachau (d. 1712). His mastery of playing (clavier, organ, violin and oboe) and of strict composition was rapid. At 11 (1696) he was taken to Berlin as a prodigy. From 1697, his father having died, his education was guided by his mother, a quiet and earnest woman. In 1702 he entered the new University of Halle, besides becoming organist at the cathedral. In these early years he is said to have written much, but few traces of this remain. In 1703, in search of experience, he entered Keiser's orchestra at Hamburg as second violin. Soon he appeared as a composer, producing 4 operas, Almira (1704) being the first, besides winning applause as an organist. Becoming intimate with Mattheson, they went together in 1703 to Lübeck to visit the aged Buxtehude. In 1704 he produced his first Passion. The same year, after a quarrel with Mattheson, he narrowly escaped being killed by the latter in a duel. After about three years he betook himself to Italy for further operatic work.
 * ness for music was irrepressible, and finally, after attracting the notice of one

George Friedrich Handel

His Italian sojourn extended from 1707 to 1710, with repeated stays at Florence, Venice, Rome and Naples. Everywhere he was honored by musicians, patrons and the public. He wrote some notable church music, 2 immensely successful operas, Rodrigo (1707, Florence) and Agrippina (1708, Venice), and 2 Italian oratorios. His style became externally accommodated to Italian traditions, though without sacrificing its native freshness and force. In 1710, returning to Germany and introduced by Steffani, he succeeded him as choirmaster to the Elector of Hanover, with leave for further travel. Proceeding at once to London, he made a hit with Rinaldo (1711), followed on a second visit by Teseo (1713) and later by a few other dramatic works. In 1713 he began writing sacred music to English words, especially the so-called Utrecht Te Deum and Jubilate. In 1714, at the sudden death of Queen Anne, the Elector succeeded as George I., and Handel was for a time in disgrace both for his long absence from Hanover and for his part in the Utrecht celebration, which the new king disapproved. In 1715, however, regaining favor, he was assigned court salaries that continued till his death. In 1716 he composed his second Passion for Hamburg. Till 1719 or 1720 he was choirmaster to the wealthy Duke of Chandos, producing a noble set of anthems, his first English oratorio Esther (1720), the serenata Acis and Galatea (1720) and some harpsichord-pieces. His power as a choral writer was already clearly visible.

In 1720 an aristocratic stock-company, The Royal Academy of Music, was formed to give operas, with Handel and G. B. Bononcini as directors, and a