The Great German Composers

sense of his own superior power. Let us take a view of some of the rival musicians with whom he came in contact. Of all these Bononcini was the most formidable. He came to Engl

side in bitter contest. The battle between Handel and Bononcini, as the exponents of German and Italian music, was also repeated in after-years between Mozart and Salieri, Weber and Rossini, and to-day is seen in the acrimonious disputes going on between Wagner and the Italian school. Bononcini's career in

pally rested. He came to London in 1733, under the patronage of the Italian faction, especially to serve as a thorn in the side of Handel. His first opera, "Ariadne," was a great success; but when he had the audacity to challenge the great German in the field of oratorio, his defeat was so overwhelming that he candidly

and most beautiful divas of Europe, Faustina Bordoni. The following anecdote does equal credit to Hasse's heart and penetration: In after-years, when he had left England, he was again sent for t

a distinct place for himself even after the sun of Handel had obscured all of his contemporaries. He wrote the music of the "Beggar's Opera," which was the great sensation of the times, and which still k

i in the great madrigal controversy, and appears to have wearied Handel by his repeated visits. The great Saxon easily saw through the flatteries of a man who was in reality an ambitious rival, and joked ab

eras and five oratorios. It was in 1731 that the great significant fact, though unrecognized by himself and others, occurred, which stamped the true bent of his genius. This was the production of his first oratorio in England. He was already playing his operas to empty houses, the subject of incessant scandal and abuse on the part of his enemies, but holding his way with steady cheerfulness and courage. Twel

al command. His success encouraged him to write "Deborah," another attempt i

who had supported him at the outset, joined the rival ranks or left England. In fact it may be almost said that the English public were becoming dissatisfied with the whole system and method of Italian music. Colley Cibber, the actor and dramatist, explains why Italian opera could never satisfy the requirement

n was not sacred. The idea of setting Holy Writ to music scandalized the Pharisees, who reveled in the licentious operas and love-songs of the Italian school. All the small wits of the time showered on Handel epigram and satire unceasingly. The greatest of all

soon as he was drunk, to hear his daughter play on the harpsichord; for he was a great lover of music, and perhaps, had he

on, that some years later Mr. Sheridan makes one of his characters fire a pistol simply to shock the au

andell with his lousy crew, a great number of foreign fiddlers, had a performance for his own benefit at the theatre." One of the dons writes of the performance as follows: "This is an innovation; but every one paid h

reat audience. Some of his university admirers, who appreciated academic honors more than the musician did, urged him to accept the degree of Doctor of Music, for w