catch up with his times. Handel certainly wrote some cantatas, only one of which, Lucretia, with a dramatic character, was very popular in Italy and in Germany later on.[1] Its style was nearly completely German.
From Florence he went to Rome for the Easter festivals in April, 1707. Even there the moment was not very favourable for him. The Grand Opera House, the Tor di Nona, had been destroyed as immoral by an edict of Pope Innocent XII ten years before. Since 1700, things had been a little easier for the musicians, but in 1703 a terrible earthquake had desolated the country, and reawakened religious qualms.[2] Even in 1709, during the whole of Handel's sojourn in Italy, there was not a single representation of Opera at Rome. On the other hand, religious music and chamber music were enjoying a great vogue. Handel, during the first months, listened and studied the religious music at Rome, and tried his hand on similar works. From this period dated his Latin Psalms.[3] Thanks to the
- ↑ Volume LI of the Complete Works. It was pretended at the time that this Lucretia was written by one Lucretia, a singer at the court of Tuscany, who showed Handel for the first time the great beauty of the Italian song—and of the Italians.
- ↑ The whole of Europe in the commencement of the eighteenth century had passed through a vogue of Pietism. Historians have scarcely paid sufficient attention to local influences. It was thus that they attributed the reawakening of the religious spirit in France entirely to the influence of Louis XIV. Analogous phenomena were produced in Italy, in Germany, and in England, at the same time. There were great moral forces awakening, which, one cannot exactly say why, suddenly broke out over the whole of the civilized world like a stroke of fever.
- ↑ A Dixit Dominus is dated April 4, 1707; a Laudate Pueri, July 8, 1707.
