ke 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
Bononcini 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.
Slanders of all sorts were circulated, 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" was brought out at
Dublin. It was followed by "Samson," "Joseph," "Semele," "Belshazzar,"
and "Hercules," which were also successful; but even in the midst of his
oratorio work his rivals did not cease their conspiracies against him,
and in 1744 he was once more a bankrupt. For over a year his pen was
idle. In 1746 the "Occasional Oratorio" and "Judas Maccabaeus" appeared,
and these were speedily followed by "Joshua," "Solomon," "Susanna,"
"Theodora," and "Jephthah." It was during the composition of