enice he brought out
another opera, 'Agrippina,' the success of which was even greater than
any previously produced. The audience were most enthusiastic, rising
from their seats and waving their arms, whilst cries of 'Viva il caro
Sassone!' (Long live the dear Saxon) resounded through the house. That
a German composer should thus have taken Italian audiences by storm is
an indication of the power which Handel wielded through his music,
especially when we consider the rivalry which existed between the two
countries in regard to the art. At the same time it must be remembered
that the works of Handel which were performed in Italy were composed
under Italian skies, after close study of the productions and methods
of the masters of Italian opera, and when the composer himself was
imbued with what he had observed of the tastes and customs of the
people. The quality of his works, however, must have served to
convince the Italians of the strength which the sister country was
capable of putting forth in support of her claim to be regarded as a
home of musical art.

Whilst on this tour Handel was present at a masked ball when
Scarlatti, the celebrated Italian performer, aroused great applause by
his playing on the harpsichord. Handel, whose identity was unknown to
both Scarlatti and the audience, was next invited to play, and excited
so much astonishment by his performance that Scarlatti, who had been
listening intently, exclaimed aloud, 'It is either the famous Saxon
himself, or the devil!' Later on, at Rome, the two performers competed
in a friendly manner on the organ and pianoforte, and though it was
undecided as to which should have the palm for the latter instrument,
Scarlatti himself admitted Handel's superiority on the organ, and ever
afterwards, when people praised him for his playing, he would tell
them how Handel played, and at the same time cross himself in token of
his great reverence for his gifted rival.

In Rome itself Handel's interest was deeply aroused, and he returned
for a second visit to the city in 1709. It was here that he composed
and produced his first oratorio, the 'Resurrection,' which added to
his fame as a writer of sacred music. During this second visit he
witnessed the arrival of the Pifferari, a band of shepherd-fifers, who
each year left their flocks on the Calabrian hills, and journeyed to
Rome to celebrate the birth of Christ by singing and playing an
ancient chant in memory of the shepherds