THREE:Dye! he chuckled. If you want special food or drink you have to dye-it!The taste for Italian music was now every day increasing; singers of that nation appeared with great applause at most concerts. In 1703 Italian music was introduced into the theatres as intermezzi, or interludes, consisting of singing and dancing; then whole operas appeared, the music Italian, the words English; and, in 1707, Urbani, a male soprano, and two Italian women, sang their parts all in Italian, the other performers using English. Finally, in 1710, a complete Italian opera was performed at the Queen's Theatre, Haymarket, and from that time the Italian opera was regularly established in London. This led to the arrival of the greatest composer whom the world had yet seen. George Frederick Handel was born at Halle, in Germany, in 1685. He had displayed wonderful genius for music as a mere child, and having, at the age of seven years, astonished the Duke of Saxe Weissenfelsat whose court his brother-in-law was a valetwho found him playing the organ in the chapel, he was, by the Duke's recommendation, regularly educated for the profession of music. At the age of ten, Handel composed the church service for voices and instruments; and after acquiring a great reputation in Hamburgwhere, in 1705, he brought out his "Almira"he proceeded to Florence, where he produced the opera of "Rodrigo," and thence to Venice, Rome, and Naples. After remaining in Italy four years, he was induced to come to England in 1710, at the pressing entreaties of many of the English nobility, to superintend the opera. But, though he was enthusiastically received, the party spirit which raged at that period soon made it impossible to conduct the opera with any degree of self-respect and independence. He therefore abandoned the attempt, having sunk nearly all his fortune in it, and commenced the composition of his noble oratorios. Racine's "Esther," abridged and altered by Humphreys, was set by him, in 1720, for the chapel of the Duke of Chandos at Cannons. It was, however, only by slow degrees that the wonderful genius of Handel was appreciated, yet it won its way against all prejudices and difficulties. In 1731 his "Esther" was performed by the children of the chapel-royal at the house of Bernard Gates, their master, and the following year, at the king's command, at the royal theatre in the Haymarket. It was fortunate for Handel that the monarch was German too, or he might have quitted the country in disgust before his fame had triumphed over faction and ignorance. So far did these operate, that in 1742, when he produced his glorious "Messiah," it was so coldly received that it was treated as a failure. Handel, in deep discouragement, however, gave it another trial in Dublin, where the warm imaginations of the Irish caught all its sublimity, and gave it an enthusiastic reception. On its next presentation in London his audience reversed the former judgment, and the delighted composer then presented the manuscript to the Foundling Hospital, where it was performed annually for the benefit of that excellent institution, and added to its funds ten thousand three hundred pounds. It became the custom, from 1737, to perform oratorios[156] on the Wednesdays and Fridays in Lent. Handel, whose genius has never been surpassed for vigour, spirit, invention, and sublimity, became blind in his latter years. He continued to perform in public, and to compose, till within a week of his death, which took place on April 13, 1759.
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Lorem ipsum dolor sit amet, consectetur adipisicing elit. Aliquam aut tenetur, amet earum quia eligendi obcaecati. Repudiandae id illum, vero iste enim reprehenderit quaerat, harum pariatur ipsa nulla tempora ex ratione illo assumenda libero ea, delectus vitae, expedita optio porro.
Lorem ipsum dolor sit amet, consectetur adipisicing elit. Aliquam aut tenetur, amet earum quia eligendi obcaecati. Repudiandae id illum, vero iste enim reprehenderit quaerat, harum pariatur ipsa nulla tempora ex ratione illo assumenda libero ea, delectus vitae, expedita optio porro.
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ONE:But the more the mystery, the greater was the rage of the English Government. On the opening of the Session of Parliament for 1737, a Bill was brought in of a most frantic and unwise character:"To abolish the charter of the City of Edinburgh, to rase the city gates, disband the City Guard, and declare Mr. Wilson, the Provost, incapable of again holding any public office." Nothing so furious and unstatesmanlike could ever have been imagined possible in the eighteenth century. Witnesses were called to the bar of both Houses, and amongst them three Scottish judges, in their robes, were subjected to a sharp cross-examination. Nothing, however, could be elicited except some degree of carelessness on the part of the city magistrates. The Scottish nation, with its usual spirit, highly resented the menaces of this impolitic Bill. The Duke of Argyll in the Lords, and various members of the Commons, denounced it as equally insulting and unjust. They were zealously supported by many English members, especially by Wyndham and Sir John Barnard, and the Bill gradually shrank into an Act disabling Mr. Provost Wilson from holding any office in future, and fining the city two thousand pounds for the benefit of the widow of Captain Porteous; and, alluding to her original station, it was jocosely said, therefore, that all this terrible menace ended in making the fortune of an old cookmaid.
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