Mattheson. "He calls the Germans phlegmatic, and a querelle allemande does not occur to him."
Mainwaring (P. 35). "For, determined to make Handel pay dear for his priority, he stifled his rage for the present, only to wait an opportunity to give it full vent. As they were coming out of the orchestra, he made a push at him with a sword, which, being aimed full at his heart, would for ever have removed him from the office he had usurped, but for the friendly Score which he accidentally carried in his bosom; and through which to have forced it, would have demanded all the might of Ajax himself. Had this happened in the early ages, not a mortal but would have been persuaded that Apollo himself had interposed to preserve him, in the form of a music-book. From the circumstances which are related of this affair, it has more the appearance of an assassination than of a rencounter; if the latter, one of Handel's years might well be wanting the courage, or the skill, to defend himself; if the former, supposing him capable of making a defence, he could not be prepared for it. How many great men, in the very dawning of their glory have been planted, like him, on the very verge of destruction! as if Fortune, jealous of Nature, made a show of sacrificing her noblest productions only to remind her of that supremacy to which she aspires. Whatever might be the merits of the quarrel at first," —
Mattheson. "Here I must again interrupt the subtle reasoner, in order to show him his confusion, which is even greater and ruder than the preceding one, since that contained only above a dozen falsehoods, while we have here double the number. The cause of the quarrel was, indeed, quite different from what is here related. It was already mentioned long since, with all possible modesty, in the 'Ehrenpforte,' p. 94 and 193; but there was then no occasion, as there is now, to remind the reader that a cool box on the ear is no assassination, but rather a necessary warning to prepare for defence. This settles the first statement. The incorrectly-informed author relates a fable rather than a true event. Never, so long as can be remembered, have two harpsichords been played together in the orchestra of the opera in Hamburg at the same time; and as there has always been but one, a dispute about it, as narrated, could not possibly have occurred. Now, as to this dispute is attributed the origin of the fight, the remainder of the invention falls with it to the ground. There we have the second blunder. Subsequently erroneous statements are so frequent that it is scarcely possible to count them. Handel, in the beginning, played only the second violin in the orchestra; and he was, as may easily be conceived, not a more accomplished performer on that instrument than any other member of the orchestra. There we have the third falsehood, which is besides a boasting untruth. The fray occurred on the 5th of December, 1704. Handel, whom the biographer insists, as much as is in his power, on making younger the older he grows, was nearly twenty-one years of age,11 tall, strong, broad, and vigorous in body; he was, consequently, man enough to defend himself, and to make use of the sword which he had hanging at his side. That is the fourth point, and a strong one too, which a writer very sensitive of his reputation should especially bear in mind when he, instead of recording real facts, indulges in high-flown laudations, and occasions the translator much unnecessary trouble."
Mainwaring (P. 37). "Whatever might be the merits of the quarrel at first, Handel seemed now to have purchased his title to precedence by the dangers he had incurred to support it. What he and his friends expected, soon happened. From conducting the performance, he became composer of the opera. Keiser, from his unhappy situation, could no longer supply the manager, who therefore applied to Handel, and furnished him with a drama to set. The name of it was Almira, and this was the first opera which he made. The success of it was so great that it ran for thirty nights without interruption. He was at this time not much above fourteen; before he was fifteen he made a second, entitled Florinda; and soon after, a third, called Nerone; which were heard with the same applause."
Mattheson. "The fifth brag, as to a certain opera having been performed in Hamburg, with every advantage and good result, thirty times without intermission, is surely not worth mentioning. The sixth, however, is even still finer. Let us just analyze it a little. 'Almira' was performed the first time on the 8th of January, anno 1705. Now, our chronologist counts from the 24th of February, 1684, when Handel was born, until the 8th of January, 1705, as a little more than fourteen years, while the period really is nearly twenty-one years.12 But he is not particular about seven years. A fine arithmetician, to be sure! Mistake No. 7. 'Nero' was not the third of Handel's operas, as our author erroneously states (mistake No. 8), but the second; and it was performed for the first time on the 25th of February, in 1705. Thus, there were only forty-eight days between the two performances; at the utmost, seven weeks. In the seven weeks there were seven Sundays, seven Saturdays, fourteen post-days, not to count the St. Mary-days and the holydays. How is it then possible that the 'Almira' could have been represented thirty times without interruption? Whoever believes only half of what this historicus here writes, believes too much. That was mistake No. 9. The tenth concerns the Florindo as a man, not the Florinda as a female. Handel's opera called 'Florindo' was not his second, but his third; and it was performed in 1708, three years after 'Nero.' Meanwhile, Keiser had not only composed a new 'Almira,' as well as the operas 'Octavia,' 'Lucretia,' 'Fedelta coronata,' 'Masagnello furioso,' 'Sueno,' 'Genio di Holsatia,' 'Carnival of Venice;' but also Schieferdecker had brought out his 'Justin'; Grünwald, his 'Germanicum;' and Graupner his 'Dido.' In the year 1708, Handel produced another opera, called 'Daphne,' which was the fourth of those he wrote for Hamburg, and which appears to be unknown to his biographer, as he omits it entirely. Has the man not had trustworthy sources for information?13 Howbeit, the dozen mistakes is complete, and we merely remark in addition, that in 1708 Handel was not 15 years of age, but quite 24. This error calculi may be regarded as a master stroke. Did we not know with certainty that George Frederick Handel died anno 1759, on the fourteenth of April, at the age of 76,14 and we had to rely upon this blundering prosaic Homer for information respecting our musical Achilles, he would have remained constantly fifteen years, perhaps even imberbis until he came to the grave, and our barber in Hamburg, who every alternate day attended him, during five or six years, would have gained his money wrongfully. If an Englishman thinks that he can entertain us with his dreams in his mixture-language, he must be prepared for an answer from us in our heroic language. We understand him well, and have learnt his tongue; if he does not understand us, he may still learn this too… Having observed Handel during his sojourn in Hamburg, we leave the celebrated man to the Italians and the English; but we do not believe that the moon is made of green cheese."
Mainwaring (P. 42). "Four or five years had elapsed from the time of his coming to Hamburg to that of his leaving it."
Mattheson. "Should say five or six."
Mainwaring (P. 42). "Instead of being chargeable to his mother he began to be serviceable to her before he was well settled in his new situation. Though he had continued to send her remittances from time to time, yet, clear of his own expenses, he had made up a purse of 200 ducats. On the strength of this fund he resolved to set out for Italy."
Mattheson. "Anno 1709 he was still in Hamburg, but did nothing.15 Then there occurred the opportunity of his travelling with Herr von Binitz to Italy, free of expense; and in 1710 he had his 'Agrippina' performed at Venice."
Mainwaring (P. 44). "The very first answer of the fugue in the overture for 'Mucius Scævola' [an opera by Handel] affords an instance of this kind [viz., a musical licence]. Geminiani, the strictest observer of rule, was so charmed with this direct transgression of it that, on hearing its effect, he cried out Quel semitono (meaning the F-sharp) vale un mondo!"
Mattheson. "What does that prove? Nothing!"
Mainwaring (P. 50). "At the age of eighteen he made [at Florence] the opera of Rodrigo, for which he was presented with 100 sequins and a service of plate."
Mattheson. "Actually an intentional miscalculation of eight years!"
Mainwaring (P. 52). "In three weeks he finished [at Venice] his 'Agrippina,' which was performed twenty-seven nights successively."
Mattheson. "In the year 1709, at his departure from Hamburg, Handel was 25 years old. He resided a year in Florence before he went to Venice, where he had his 'Agrippina' performed at the theatre of St. Gio Crisostomo, during the Carnival in 1710. Now, let him calculate who can, and convince himself whether this makes, from February 24th, 1684, eighteen years, as our biographer says, or whether it amounts to twenty-six."
Mainwaring (P. 74). "It was in the winter of the year 1710 when he arrived at London."
Mattheson. "In this year he performed his 'Agrippina' at Venice, and in 1709 he was still in Hamburg."16
Mainwaring (P. 74). "During this period scarce a mail arrived from Holland which did not bring some fresh accounts of victories or advantages gained by the English hero [Marlborough] over the armies of a monarch but lately the terror of Europe, though now the scorn of every Dutch burgomaster."
Mattheson. "What a Frenchman may say to this is his own concern. In Handel's biography it is lugged in; and such scurrilities reveal an ignoble heart."
Mainwaring (P. 88). "Our business is not to play the panegyrist but the historian."
Mattheson. "If you know that, blessed are you if you act upon it."
Mainwaring (P. 110). "Having one day some words with Cuzzoni on her refusing to sing Falsa imagine in 'Ottone': 'Oh! Madame,' Handel said, 'je scais bien que vous êtes une véritable diablesse; mais je vous ferai scavoir, moi, que je suis Beelzebub, le chef des diables!' With this he took her up by the waist, and swore that if she made any more words he would fling her out of the window. It is to be noted that this was formerly one of the methods of executing criminals in some parts of Germany, a process not unlike that of the Tarpeian rock, and probably derived from it."
Mattheson. "This heroic deed was undoubtedly accomplished unawares. Who could face such a woman with her claws? The Quixotic story with its ingenious reference to the Tarpeian rock, and to criminal processes, testify to the author's extensive reading in law and history. Whoever can read it without a smile is commendable, especially if he is a German, better informed and phlegmatic."
Mainwaring (P. 115). "The little taste he [Handel] had already had of adversity lessened that self-confidence which success is apt to inspire. He found that it was not the necessary consequence of great abilities, and that without prudence the greatest may be almost annihilated in the opinions of men."
Mattheson. "To this the British proverb applies: 'Give a man luck and throw him into the Thames.'"
Mainwaring (P. 116). "He now removed to Covent-garden, and entered into partnership with Rich, the master of that house. Hasse and Porpora were the composers at the Haymarket. When the former was invited over, it is remarkable that the first question he asked was whether Handel was dead. Being answered in the negative he refused to come, from a persuasion that where his countryman was – for they were both Saxons by birth – no other person of the same profession was likely to make any figure."
Mattheson. "This agrees with a remark of mine before made. Hasse was born in Bergedorf, a small town belonging to Hamburg and Lübeck in common; he is, therefore, a Lower-Saxon of the highest type… However, the reason why these two Saxons did not wish to encroach upon each other's precincts was a very different one from that indicated by our biographer."
Mainwaring (P. 132). "Dublin has always been famous for the gaiety and splendour of its court, the opulence and spirit of its principal inhabitants, the valour of its military, and the genius of its learned men. Where such things were held in esteem he [Handel] rightly reckoned that he could not better pave the way to his success than by setting out with a striking instance and public act of generosity and benevolence. The first step that he made was to perform his Messiah for the benefit of the city-prison."
Mattheson. "On a beau être généreux et liberal, quand il n'en coute que des chansons, et que d'autres payent les violons; c'est en bon allemand: Mit der Wurst nach dem Schinken werfen ('To throw the sausage at the ham')."
Mainwaring (P. 135). "The Foundling Hospital [in London] originally rested on the slender foundation of private benefactions. At a time when this institution was yet in its infancy; when all men seemed to be convinced of its utility; when nothing was at all problematical but the possibility of supporting it; – Handel formed the noble resolution to lend his assistance, and perform his Messiah annually for its benefit. The sums raised by each performance were very considerable, and certainly of great consequence in such a crisis of affairs. But, what was of much greater, was the magic of his name and the universal character of his sacred drama."
Mattheson. "Notes were his magic, or his black-art."
Mainwaring (P. 137). "So that it may truly be affirmed that one of the noblest and most extensive charities that ever was planned by the wisdom, or projected by the piety of men, in some degree owes its continuance as well as prosperity to the patronage of Handel."
Mattheson. "By this he was not out of pocket; it rather brought him credit, which is better than money."
Mainwaring (P. 138). "In the year 1751 a gutta serena deprived him of his sight. This misfortune sunk him for a time into the deepest despondency. He could not rest until he had undergone some operations as fruitless as they were painful. Finding it no longer possible for him to manage alone, he sent to Mr. Smith to desire that he should play for him, and assist him in conducting the oratorios."
Mattheson. "He remained blind until his death, – a period of eight years. Nothing is said here of a so-called monumental column, and of an amazingly large property left by Handel, although it has been a subject of much gossip."
Mainwaring (P. 141). "His incessant and intense application to the studies of his profession, rendered constant and large supplies of nourishment the more necessary to recruit his exhausted spirits."
Mattheson. "J. Sirach, chap. xxxviii., v. 34; Phil., chap. iii., v. 19."
Mainwaring (P. 142). "The design of the foregoing sheets is only to give the reader those parts of his character as a Man, that any way tend to open and explain his character as an Artist."
Mattheson. "If this were done, the arts and the manners would exhibit not unfrequently striking contrasts."
Mainwaring (P. 143). "The author has nothing to add but his sincere wishes that every artist who is truly deserving in his profession may meet with a person equally desirous of doing justice to his memory."
Mattheson. "This wish is as kind as it is reasonable. It proves the belief of the author that there must be other people, unknown to him, who, on account of their arts, deserve quite as much honour as Handel. Alas! how much pains has the 'Great-Thorough-Bass School' taken to show this, not to mention the 'Triumphal Arch.'17 … Bach, Fux, Graun, Graupner, Grünewald, Heinichen, Keiser, etc., have died without experiencing it; perhaps the same will happen with Hasse, and with several others."
Mainwaring (P. 149). "A great quantity of music, not mentioned in the Catalogue, was made [by Handel] in Italy and Germany. How much of it is yet in being, is not known. Two chests-full were left at Hamburg, besides some at Hanover, and some at Halle."
Mattheson. "We Hamburgians have hitherto heard nothing of those two chests. In Wich's music-book of the year 1704 are two minuets and half an air, that is all."
Mainwaring (P. 164). "The generality of mankind have not enough of delicacy to be much affected with minute instances of beauty, but yet are so formed as to be transported with every the least mark of grandeur and sublimity."
Mattheson. "That is true."
Mainwaring (P. 165). "The taste in music, both of the Germans and Italians, is suited to the different characters of the two nations. That of the first is rough and martial; and their music consists of strong effects produced, without much delicacy, by the rattle of a number of instruments."
Mattheson. "Surely this is not phlegmatic, as before said."
Mainwaring (P. 174). "However well some of the Italians may have succeeded in the management of the instrumental parts in their song-music, there is one point in which Handel stands alone, and in which he may possibly never be equalled; I mean in the instrumental parts of his choruses and full church-music."
Mattheson. "This is true enough; but it was all derived from Zachau and his organ-playing. Germany is the fatherland of all powerful harmony, elaborate compositions for the organ, fugues and chorales, used in Divine Service. Italy has melody for her daughter, with songstresses, singers, and very delicate solo-players on violin-instruments to touch the heart. France produces its magnificent choruses, instrumental pieces, dance-music, to cheer the heart; and to England we leave the honour of admiring and recompensing these rarities."
Mainwaring (P. 179). "But how shall we excuse for those instances of coarseness and indelicacy which occur so frequently in the airs of his oratorios? For, as the melody is a fundamental and essential part in vocal music, it should seem that nothing can atone for the neglect of it. The best painter would be blamed should he draw off the attention too much from the principal figure in his piece, however perfect, by the very high and exquisite finishing of some inferior object; but, much more would he deserve to be blamed if he left that figure the least finished which all the rules of his art required to be the most so. Now, in music, though there may sometimes be occasion for giving the instruments the ascendancy over the voices, yet never should the song-parts be unmeaning or inexpressive, much less coarse or ordinary."
Mattheson. "Golden words! All this, however, is owing to the circumstance that Handel was neither a singer nor an actor. During a period of five or six years, when we had daily intercourse with each other, I never heard a singing tone from his mouth. When Earl Granville (at that time Lord Carteret) was here in Hamburg, and heard me sing and also play, he said: 'Handel plays also thus, but he does not sing thus.' In my opinion singing and acting are of great assistance to a composer of dramatic music. Hasse knows this well, and has cultivated both earnestly, me teste. Keiser, likewise, sang very admirably. Both have, therefore, extraordinarily charming melodies."
Mainwaring (P. 202). "In his fugues and overtures, Handel is quite original. The style of them is peculiar to himself, and in no way like that of any master before him. In the formation of these pieces, knowledge and invention seem to have contended for the mastery."
Mattheson. "A certain philosopher recently made himself conspicuous by maintaining that the Fine Arts ought not to be regarded as Sciences, because their systems are sensuous. Nevertheless, the old adage always stands firm: Nihil esse in intellectu quod non prius fuerit in sensu. Our biographer belongs perhaps to that sect, for he scarcely uses the word science, even when he refers to the science of music, as on the present occasion. He always uses only the word knowledge or skill. Perhaps this is unintentional. Thus much, however, is certain: musicians are in need of literary works, and he who can only write notes, his honour and reputation are only vox, practeraque nihil. On the second of March, this year [1761,] we had here, in Hamburg, a sale of a large number of scarce and valuable books on all sciences; but the science of music was not represented by a single work in the comprehensive catalogue. That is surely neglect of a science! If any one can show me that I am mistaken, I shall be happy."
Mainwaring (P. 208). "Little, indeed, are the hopes of ever equalling, much less of excelling, so vast a proficient in his own way; however, as there are so many avenues to excellence still open, so many paths to glory still untrod, it is hoped that the example of this illustrious foreigner will rather prove an incentive than a discouragement to the industry and genius of our own countrymen."
Mattheson. "Whoever intends to describe accurately the life of Handel, can hardly do it without a reference to the following books: 'Musica Critica,' Hamburg, 1722; 'The Musical Patriot,' Hamburg, 1728; 'Ehrenpforte,' Hamburg, 1740."
Mattheson now quotes an extract from a letter of Handel's, dated February 24th, 1719, which has already been given above;18 and he remarks: "To promise, and to fulfil a promise, are two things." He quotes once more Handel's complimentary letter, also given above,19 which evidently afforded him great satisfaction; and he adds: "Even the most insignificant letters in some degree depict the writer, in reference to the time and place in which they were written. Horace is quite right: Coelum non animum mutant qui trans mare currunt."
Some writers have blamed Mattheson very much on account of his vanity and his jealousy of Handel. Still, it remains a debatable question whether the conceit of his detractors does not perhaps surpass his own. It is a common practice with inferior musical authors to assume an air of superiority, and to endeavour to make themselves important by finding fault with others who have distinguished themselves in the same field in which they are labouring, and to whom they ought to be grateful.
Mattheson had not only a better scientific education than most musicians of his time, but his literary productions are also more readable than those of his modern commentators who censure him.