are all essentially Handelian traits. No less is the magnificent triumph of the ensembles, his manner of painting in bold masses of light and shade.[1] It is to a very high degree, as with the art of Handel, music for everyone.
But much time passed before Handel profited by the examples of Buxtehude. On his return from Lubeck he seems to have forgotten them. It was not so, however, for nothing was ever lost on him.
At the end of August, 1703, Handel entered the Hamburg orchestra as a second violinist. He loved to amuse himself amongst his kind, and he often made himself appear more ignorant than he was. "He behaved," said Mattheson, "as if he did not even know how to count five, for he was a 'dry stick.'"[2] That year at Hamburg, Keiser's Claudius was given at the Opera, and many of the phrases registered themselves in Handel's marvellous memory.[3]
When the season was finished, Mattheson made a journey to Holland, and Handel profited by the absence of his young adviser to assert his own individuality. He had made the acquaintance of the poet Postel, who, old, ill, and troubled by
- ↑ We find on page 167 of the Denkmäler volume, a Hallelujah by Buxtehude for 2 clarini (trumpets) , 2 violins, 2 violas, violoncello, organ, and 5 vocal parts, which is pure Handel, and very beautiful.
- ↑ Mattheson adds: "I know with certainty that if he reads these pages, he will laugh up his sleeve, but outwardly he laughs little."
- ↑ Amongst others, the subject from an air in minuet form, which he repeated exactly in the minuet of his overture to Samson.
