ct with
the Elector. In 1714 the Queen died, and the Elector of
Hanover was called to the English throne under the title of
George I. Haendel, in order to escape the impending disgrace
occasioned by having broken faith with his former employer,
wrote some music intended to be particularly persuasive, and
had it played on a barge that followed a royal procession up
the Thames. This "Water Music," as it was called, procured
for him the King's pardon.

From this time he lived in England, practically monopolizing
all that was done in music. In 1720 a company for the giving
of Italian opera was formed, and Haendel placed at its head. In
1727, on the occasion of the accession of George II, Haendel
wrote four anthems, one of which "Zadok the Priest," ends
with the words "God save the King," from which it has been
erroneously stated that he wrote the English national hymn.

In 1737 Haendel gave up the writing of operas, after sinking
most of his own savings in the undertaking, and began to write
oratorios, the germs of which are found in the old Mysteries and
Passion plays performed on a platform erected in the chapel or
oratory of a church. Much has been written about Haendel's habit
of taking themes from other composers, and he was even dubbed
the "grand old robber." It must not be overlooked, however,
that although he made use of ideas from other composers, he
turned them to the best account. By 1742 Haendel was again in
prosperous circumstances, his "Messiah" having been a tremendous
success. From that time until his death he held undisputed sway,
although his last years were clouded by a trouble with his eyes,
which were operated upon unsuccessfully by an English oculist,
named Taylor, who had also operated on Bach's eyes with the
same disastrous result. Haendel became completely blind in
1752. Up to the last year of his life he continued to give
oratorio concerts and played organ concertos, of which only
the _tutti_ were noted, he improvising his part.

Haendel's strength lay in his great ability to produce
overwhelming effects by comparatively simple means. This is
especially the case in his great choruses which are massive
in effect and yet simple to the verge of barrenness. This,
of course, has no reference to the absurd _fioriture_ and
long passage work given to the voices,--an Italian fashion of
the times,--but to the contrapuntal texture of the work. Of
his oratorios, "The Messiah" is the best known. Two of h