father.[1] The sturdy surgeon had more than objection—he possessed an aversion to the profession of artist. This sentiment was shared by nearly all the sturdy men of Germany. The calling of musician was degraded by the unedifying spectacle of many artists in the years of relaxation which followed the Thirty Years' war.[2] Besides which, the bourgeois German of the seventeenth century had a very different idea of music from that of our French middle classes of the nineteenth century. It was with them a mere art of amusement, and not a serious profession. Many of the masters of that time, Schütz, Rosenmüller, Kuhnau, were lawyers, or theologians, before they devoted themselves to music; or they even followed for a time the two professions. Handel's father wished his son to follow his own profession, that of law; but a journey to Weissenfels overcame all his objections. The Duke heard the little seven-year-old Handel play the organ, with the result that he sent for the father to see him and recommended him not to thwart the child's obvious musical talents. The father, who had always taken these counsels very badly when they came from anyone else, doubtless appreciated them when they came from the lips of a prince;
- ↑ Legendary anecdotes of the little Handel are often quoted, showing him rising from his bed in the middle of the night to play a little clavichord, which was concealed in an upper garret.
- ↑ See the Preface which the choirmaster of the Thomas School at Leipzig, Tobias Michael, wrote to the second part of his Musikalische Seelenlust (1637); and in the life of Rosenmüller the story of the scandalous affair which in 1655 forced this fine musician to flee from his country (August Horneffer: Johann Rosenmüller, 1898).
