sition in
Hanover; but his English success made him impatient of the dulness of the
court. In 1712 he was in London again, little dreaming that the Elector
would soon follow him as king. Incensed with him for leaving Hanover, the
King at first refused to receive him; but some music which Handel
composed for an aquatic fete in his honor brought about the royal
reconciliation. In 1718 he accepted the position of chapel-master to the
Duke of Chandos, for whom he wrote the famous Chandos Te Deum and
Anthems, the serenata "Acis and Galatea," and "Esther," his first English
oratorio. In 1720 he was engaged as director of Italian opera by the
society of noblemen known as the Royal Academy of Music, and from that
time until 1740 his career was entirely of an operatic character. Opera
after opera came from his pen. Some were successful, others failed. At
first composer, then director, he finally became _impresario_, only to
find himself confronted with bitter rivalry, especially at the hands of
Buononcini and Porpora. Cabals were instituted against him. Unable to
contend with them alone, he formed a partnership with Heidegger,
proprietor of the King's Theatre, in 1729. It was broken in 1734, and he
took the management of Covent Garden. The Italian conspiracies against
him broke out afresh. He failed in his undertaking, and became a
bankrupt. In eight years he had lost $51,000 in Italian opera. Slanders
of all sorts were circulated against him, and his works were no longer
well received. In the midst of his adversity sickness overtook him,
ending with a partial stroke of paralysis. When sufficiently recovered,
he went to the Continent, where he remained for a few months. On his
return to London he brought out some new works, but they were not
favorably received. A few friends who had remained faithful to him
persuaded him to give a benefit concert, which was a great success. It
inspired him with fresh courage; but he did not again return to the
operatic world. Thenceforward he devoted himself to oratorio, in which he
made his name famous for all time. He himself said: "Sacred music is best
suited to a man descending in the vale of years." "Saul" and the colossal
"Israel in Egypt," written in 1740, head the list of his wonderful
oratorios. In 1741 he was invited to visit Ireland. He went there in
November, and many of his works were produced during the winter and
received with great enthusiasm. In April, 1742, his immortal "Messiah"