is the first of the conquerors.[1] After Rinaldo, and until the time when Handel had settled definitely in London, that is to say, between 1711 and the end of 1716, was an indecisive period which oscillated between Germany and England, and between religious music and the Opera.
Handel, who bore the title of Kapellmeister of Hanover, returned to his post in June, 1711.[2] At Hanover he found the Bishop Steffani again, and attempted to write in his style. In this imitation he composed some twenty chamber duets, which did not come up to their model, and some beautiful German songs on the poems by Brockes.[3] Several of his best instrumental pages, his first Oboe Concertos, his Sonatas for Flute and Bass,[4] seem to date from this time. The cavaliers of the Court of Hanover were ardent flautists, and the orchestra, under the direction of Farinel, was excellent; especially had the oboes reached a high degree of virtuosity, which has hardly been approached at the present day. On the other hand, the Opera at Hanover was closed, and Handel could not even give Rinaldo.
He had a taste of the theatre, and did not like
- ↑ When the poet Barthold Feind gave in 1715 the translation of Rinaldo at Hamburg, he did not neglect to call him the universally celebrated Mr. Handel, known to the Italians as "l'Orfeo del nostro secolo" and "un ingegno sublime."
- ↑ He did not hurry. He stayed at Dusseldorf with the Elector Palatine (A. Einstein, etc., April, 1907), then in the later months of the year he went to see his family at Halle.
- ↑ To speak truly, they were more like little cantatas than lieder. The Collection Schoelcher in the Library of the Paris Conservatoire possesses these copies.
- ↑ Volumes XXVII and XLVIII of the Complete Handel Edition.
