Musical Myths and Facts, Volume 2 (of 2)

MATTHESON ON HANDEL

The biographical notices of Handel's youth transmitted to us are but scanty and unsatisfactory. The same might, however, be said of most of our celebrated musicians, and the cause of the meagreness is, as we have seen in another place, easily explicable.1 Of Handel's musical pursuits before his arrival in Hamburg, at the age of eighteen, we know scarcely more than that he was a pupil of Zachau, an organist at Halle, where Handel was born; that, as a boy, he paid a short visit to Berlin, where his talent attracted some attention; and that subsequently he studied Law, at the University of Halle. The latter fact indicates that the choice of music as a profession was not hastily determined in his childhood; and this surmise accords with the stated reluctance of his father, a medical practitioner in Halle, to have his son brought up as a musician.

Arrived in Hamburg, in the year 1703, Handel soon made the acquaintance of Mattheson, an intelligent and industrious young musician, who was competent to appreciate the genius of Handel, and faithfully to record the progress of the promising youth during his sojourn in Hamburg, which lasted about three years. Mattheson was four years older than Handel, – a difference which, between two lads of twenty-two and eighteen, is not without some weight in their mutual intercourse, especially if the elder is already enjoying a certain success, while the younger is a new comer, intent upon gaining a footing. Mattheson's observations about Handel, although occasionally tinged with jealousy of his talented brother artist, are therefore particularly noteworthy in the biography of the great composer.

Johann Mattheson, born in Hamburg, in the year 1681, was at the time of Handel's arrival tenor singer and musical composer at the theatre of the town, and teacher of singing, the harpsichord, and thorough-bass. When, in the year 1705, an increasing deafness compelled him to relinquish his engagement as singer and actor in operas at the theatre, his accomplishments, combined with commendable habits of industry and punctuality, induced the British Ambassador at Hamburg to engage him as tutor for his son, and afterwards to appoint him his secretary. During an active life of unusual duration, – he died in the year 1764, at the age of 83, – Mattheson published a great number of treatises on musical subjects, some of which still possess value as books of reference. His vanity, not unfrequently exhibited in his writings, may in some measure have been nourished by his many flatterers among his musical contemporaries, who evidently feared his sarcastic pen all the more because they did not possess the literary ability to engage successfully in a controversy with him when they disagreed with his opinion.

As regards the musical compositions of Mattheson, we know from his own statement, in his autobiography, that his operas were greatly admired by the public; but this favourable opinion is hardly supported by such of his compositions as have appeared in print. A collection of twelve Suites for the harpsichord, the manuscript of which he sent to England, where it was published in two volumes, in the year 1714, bears the title: – 'Pièces de Clavecin, en deux Volumes, consistant des Ouvertures, Preludes, Fugues, Allemandes, Courentes, Sarabandes, Gigues et Aires, composées par J. Mattheson, Secr. – London, printed for J. D. Fletcher.' The work is prefaced by an address to the musical public, written by the editor, J. D. Fletcher, in which he says: – "Britain may now hope to return those arts with interest, which she borrowed from other nations; and foreigners in time may learn of those whom their forefathers taught… As the harpsichord is an instrument yet capable of greater improvement, so the following pieces claim a precedence of all others of this nature; not only that they are composed by one of the greatest masters of the age, in a taste altogether pleasing and sublime; but, as they are peculiarly adapted to that instrument, and engraven with an exactness that cannot be equall'd by any of their nature yet extant." Sir John Hawkins, who probably had not seen these Suites, relates: "Mattheson had sent over to England, in order to their being published here, two collections of lessons for the harpsichord, and they were accordingly engraved on copper, and printed for Richard Meares in St. Paul's Church-yard, and published in the year 1714. Handel was at that time in London, and in the afternoon was used to frequent St. Paul's Church for the sake of hearing the service, and of playing on the organ after it was over; from whence he and some gentlemen of the choir would frequently adjourn to the Queen's Arms tavern in St. Paul's Church-yard, where was a harpsichord. It happened one afternoon, when they were thus met together, Mr. Weely, a gentleman of the choir, came in and informed them that Mr. Mattheson's lessons were then to be had at Mr. Meares' shop; upon which Mr. Handel ordered them immediately to be sent for, and upon their being brought, played them all over without rising from the instrument." Still more odd appears Hawkins' statement that Handel "approved so highly of the compositions of Mattheson, particularly his lessons, that he was used to play them for his private amusement."2

If Handel really could amuse himself by playing these lessons, which are in no respect superior to the usual productions of the mediocre musicians of his time, it probably was only from feelings of curiosity and kindness towards a former friend. Mattheson composed a great deal, and made at last even his own Funeral Anthem, which after his death was performed to his honour, and which, if report speaks correctly, sounded truly miserable; and this may well be believed, considering that when he composed the music Mattheson had been deaf for nearly thirty years. Still, though he was but a poor composer, he possessed ample musical knowledge and practical skill to enable him to judge the works of his superior contemporaries. His jealous disposition, however, sometimes prevented him from forming a just opinion. His disparaging critique of an early work of Handel, in his 'Critica Musica,' Hamburg, 1725, at a time when Handel had become a resident in London, was evidently influenced by jealousy, and the same is more or less observable in his other writings. Nevertheless, he took every opportunity to keep up a correspondence with Handel, and to boast of his former familiarity with the celebrated man. Mattheson, having solicited Handel's opinion upon a certain theoretical question on which he was in dispute with some German musicians, and having also expressed the hope that Handel might favour him with some biographical notices, Handel, at the conclusion of his letter in reply, excuses himself for not complying with the second point in question: —

"Pour ce qui est du second point, vous pouvez juger vous même qu'il demande beaucoup de recueillement, dont je ne suis pas le maître parmi les occupations pressantes, que j'ai par devers moi. Dès que j'en ferai un peu debarassé, je repasserai les Epoques principales que j'ai eues dans le cours de ma Profession, pour vous faire voir l'estime et la consideration particulière avec laquelle j'ai l'honneur d'être,

A Londres, Fevr. 24, 1719."

In the year 1740, Mattheson published his Grundlage einer Ehrenpforte ('Foundation of a Triumphal Arch'), which contains a series of biographies of the celebrated musicians of his time, – Mattheson's included. During the preparation of this work, he addressed another request to Handel to supply him with materials for a correct biography. He also dedicated twelve fugues of his own composition to Handel, of which he sent him a copy to ensure prompt attention. Handel's reply was again evasive: —

Monsieur,

Il y a quelque tems que j'ai reçu une de vos obligeantes lettres; mais à présent je vien de recevoir votre dernière avec votre ouvrage. Je vous en remercie, Monsieur, et je vous assure que j'ai toute l'estime pour votre mérite, je souhaiterois seulement que mes circonstances m'étaient plus favorables pour vous donner des marques de mon inclination à vous servir. L'ouvrage est digne de l'attention des connoisseurs, et quand à moi, je vous rends justice.

Au reste, pour rammasser quelque époque, il m'est impossible puisqu'une continuelle application au service de cette cour et noblesse me détourne de toute autre affaire.

Handel was at this period in circumstances by no means flourishing, his operatic enterprises having failed. Mattheson's request came therefore at a very inopportune time, since it would have been only painful to Handel to occupy his mind with recollections of events of his earlier life, and with the record of expectations which he now found were not to be realized.

It is singular that almost all Handel's letters to Germans which have been preserved, including those to his brother-in-law in Halle, are written in French. Besides, they are so extremely formal and ceremonious, even those to his nearest relations! This may be in great measure accounted for by the usages of his time, and by the circumstance of his coming frequently into contact with persons of a higher position in society than himself. But, however reserved he may appear in his letters, evidences are not wanting testifying to his kindheartedness and generosity.

When Mattheson found that it was useless to endeavour to elicit information direct from Handel for his 'Ehrenpforte,' he compiled a biography interspersed with recollections of their mutual experiences during the years of their intercourse in Hamburg. The following extracts from Mattheson's gossip are translated as literally as possible: —

"In the summer of the year 1703 he came to Hamburg, rich in abilities and good intentions. I was almost the first acquaintance he made, and I took him to the organs and choirs of the town, and to operas and concerts. I also introduced him to a certain family where all were extremely devoted to music."

In another place Mattheson records that he made Handel's acquaintance accidentally at the organ of the church of St. Mary Magdalen, and that he took him at once with him to his father's house, and paid him every possible attention. Mattheson further relates: —

"At first he played the second violin in the orchestra of the opera, and seemed as if he could not count above five; in fact, he was naturally much inclined to dry humour. But, one day, when a harpsichord player was wanted, he allowed himself to be persuaded to take his place, and showed himself a man, when no one but I expected it. I am sure if he reads this he will laugh in his sleeve, for outwardly he seldom laughs. Especially will he laugh if he recollects the pigeon-dealer who once travelled post with us to Lübeck; likewise, the son of the pastry-cook who had to blow the bellows while we were playing the organ in the church of St. Mary Magdalen of this place. This was on the thirtieth of July, 1703, after our having been out on the water on the fifteenth."

"He composed at that time very long, long airs, and almost endless cantatas, which, although the harmonious treatment was perfect, nevertheless had not the requisite fitness; nor did they exhibit the proper taste. However, the high school of the opera soon put him on the right track."

"He was great upon the organ, greater than Kuhnau in fugues and counterpoint, especially in extemporizing. However, he knew but very little of melody before he had to do with the operas in Hamburg. On the other hand, Kuhnau's pieces were all exceedingly melodious, and suited for the voice, even those arranged for playing. In the preceding century scarcely any one thought of melody; all aimed merely at harmony."

"At that time he dined almost daily by invitation with my father, and in return opened to me some particular manœuvres in counter point. On the other hand, in dramatic style I have been of no little service to him; so that one hand washed the other."

"On the seventeenth of August, in the year 1703, we travelled together to Lübeck, and in the carriage composed many double-fugues, da mente non da penna. I had been invited there by the President of the Privy Council, Magnus von Wedderkopp, in order to choose a successor for the excellent organist, Dieterich Buxtehude. I took Handel there with me. We tried almost all the organs and harpsichords in Lübeck; and, with regard to our playing, we arranged between ourselves that he should play exclusively on the organ, and I on the harpsichord. We also heard with due attention the above-mentioned artist in his St. Mary's Church. But when we found that a certain marriage, for which neither of us had the slightest inclination, was a stipulated condition with the appointment, [the successful candidate had to marry the daughter of Buxtehude] we departed thence, after having received much honour, and having enjoyed many entertainments. Johann Christian Schieferdecker subsequently accommodated himself to the requirements, conducted the bride home, and obtained the fine appointment."

"In the year 1704, when I was in Holland, intending to proceed to England, I received in Amsterdam, on the twenty-first of March, a letter from Handel in Hamburg, so obliging and pressing, that it at once induced me to return home. The letter, which is dated March 18th, 1704, contains, among others, these expressions: —

'I much desire your highly agreeable conversation, the privation of which will soon be repaired, as the time approaches in which it will be impossible to undertake anything in the way of operas without your presence. I therefore pray you obediently to inform me of your departure, that I may have the opportunity of showing my obligation by meeting you with Miss Sbülens,' etc., etc."

These extracts from Mattheson's 'Ehrenpforte' are quoted here because they throw light upon some occurrences alluded to in the remarks with which Mattheson has interspersed his German translation of Mainwaring's 'Memoirs of the Life of the late George Frederick Handel; to which is added a Catalogue of his works, and observations upon them; London, 1760.'

Mainwaring was a young clergyman, whose admiration of Handel induced him to collect as much material for the compilation of a biography as he was able to obtain. His work, published anonymously a year after Handel's death, much as it has been disparaged on account of its chronological inaccuracies and its want of musical erudition, is certainly valuable as containing the fullest account of Handel's life in England written by a contemporary of the great musician. Mattheson's German translation, with annotations, is entitled Georg Friderich Händel's Lebensbeschreibung, nebst einem Verzeichnisse seiner Ausübungswerke und deren Beurtheilung; übersetzt, auch mit einigen Anmerkungen, absonderlich über den hamburgischen Artikel, versehen von Legations-Rath Mattheson. Hamburg. Auf Kosten des Uebersetzers, 1761. ('George Frederick Handel's Biography, with a list of his Compositions, and a critical examination of them; translated, and annotated with some remarks, especially upon the part relating to Hamburg, by Mattheson, Councillor of Legation. Hamburg. Published at the expense of the translator, 1761.') The book is now scarce. Victor Schœlcher, in his 'Life of Handel,' London, 1857, notices it only with the remark: "My endeavours have hitherto been in vain to obtain a copy of this in Germany, and it is not to be found in the British Museum." At any rate, it is not likely to be known to many English musicians. A translation of Mattheson's annotations is therefore offered here.

As regards the Introduction with which Mattheson has prefaced his translation, it is so diffuse, and contains so little about Handel, that few musicians now would care to read it entirely. It is headed by a quotation in English, from the Tatler (No. 92): – "Panegyricks are frequently ridiculous, let them be addressed where they will."

Mattheson aims more at impressing the reader with his own merits than with those of Handel. He says, for instance: "In describing an artist's life, it is not sufficient to represent the man only as an artist; the artist must rather be considered also as a man; for thus only can his merits be properly understood. However, no one is able to know or to do everything in his vocation. Thus, in music, one performer excels on the organ-pedals, while another surpasses him on the harpsichord. The first may be called coarse; the second, delicate. The first may be only appreciated by connoisseurs; the second, by everyone. A company of artists – if any such exists – is like a bunch of different keys. No one of these is to be extolled before the other but only in so far as it opens an important lock which encloses a treasure. One musician is not only a player, but also a singer; another never opens his mouth to sing – nay, not even to laugh. The former, besides being able to compose, to sing, to play, and to dance, acts a principal character on the stage; the latter, with his quantity of musical scores, has taken care not to appear upon the boards of the theatre. Indeed, he would have cut a funny figure had he done so. Here, some one who occupies himself with music, and also with various sciences, in a superior manner, works at the same time for kings and princes; there some one employs his gifts principally in the service and for the amusement of the subjects. From this it is clear that each in his particular line may deserve honour and laudation; not properly on account of his person, but on account of his achievements… No mere Musicus practicus ecclesiastico-dramaticus, who took a high rank as a director of the orchestra, and a still higher rank as an organist, but who was neither a singer nor an actor, and least of all a mathematician – has ever, before Handel, attained to this, that without his help a special book of a considerable size on his life has been written, and supplied with instructive observations – still more, that his biography has been translated into another language by a brother-artist by no means of the common class. Competing successors do not feel hurt by these stimulating spurs!"

In order to render the following annotations by Mattheson properly intelligible, the statements of Mainwaring to which they refer are inserted with them. The latter are copied exactly as they were originally written; while Mattheson's annotations are translated from the German.

Mainwaring (P. 1). "George Frederick Handel was born at Hall,3 a city in the circle of Upper-Saxony, the 24th February, 1684,4 by a second wife of his father, who was an eminent surgeon and physician of the same place, and above sixty when his son was born."

Mattheson. "The author is wrong in calling Halle a town of Upper-Saxony. It lies in the Dukedom of Magdeburg, which belongs to Lower-Saxony. Handel was, therefore, no Upper-Saxon, but rather a Lower-Saxon."

Mainwaring (P. 6). "It may not be unpleasant to the reader just now to remind him of the minute and surprising resemblance between the early periods of Handel's life and some which are recorded in that of the celebrated M. Pascal, written by his sister. Nothing could equal the bias of the one to Mathematics but the bias of the other to Music; both in their very childhood out-did the efforts of maturer age; they pursued their respective studies not only without any assistance, but against the consent of their parents, and in spite of all the opposition they contrived to give them."

Mattheson. "Almost the same was the case with Tycho Brahe, and with the translator of this biography, each in his vocation."

Mainwaring (P. 15). "Zackaw [Zachau] was proud of a pupil who already began to attract the attention of all persons who lived near Hall [Halle], or resorted thither from distant quarters. And he was glad of an assistant who, by his uncommon talents, was capable of supplying his place whenever he had an inclination to be absent, as he often was, from his love of company and a cheerful glass."

Mattheson. "Could not the life of Handel have been written without aspersing the brave tone-artist Zachau forty years after his death on account of a glass of wine?"

Mainwaring (P. 15). "It may seem strange to talk of an assistant of seven years of age, for he could not be more, if indeed he was quite so much, when first he was committed to the care of this person."

Mattheson. "The author appears to have not the least scruple in committing the most palpable anachronism by making his hero the younger the taller he grows. This will presently appear evident."

Mainwaring (P. 16). "We have already hinted at some striking coincidences of life and character which are found in him and the famous Pascal. In this place we may just observe that the latter at the age of twelve compos'd a treatise on the propagation of sounds, and at sixteen another upon conic sections."

Mattheson. "But it must be remembered that afterwards he entirely gave up mathematics. See Bayle."

Mainwaring (P. 18). "It was in the year 1698 that he went to Berlin. The opera there was in a flourishing condition under the direction of the King of Prussia (grandfather of the present), who, by the encouragement which he gave to singers and composers, drew thither some of the most eminent from Italy and other parts."

Mattheson. "Anno 1698 there was no King in Prussia; the first dated from 1701. Handel has, therefore, seen no king in Berlin. That the author is as bad a genealogist and politician as he is a chronologist, is proved by his mistaking the grandfather of the present king for the father, and by his always mentioning the then reigning Elector as the King."

Mainwaring (P. 20). "Attilio's fondness for Handel commenced at his first coming to Berlin, and continued to the time of his leaving it. He would often take him on his knee, and make him play on his harpsichord for an hour together, equally pleased and surprised with the extraordinary proficiency of so young a person; for at this time he could not exceed thirteen, as may easily be seen by comparing dates."

Mattheson. "He was born anno 1684.5 He arrived in Berlin anno 1698. Even if the various occurrences with Buononcini and Attilio, with the Elector and his court, took only a few hours – nay, even if they are not taken into account at all, there are still at least fourteen years. One should think that he was much above seven years when Ariosti (Attilio) took him on his lap."6

Mainwaring (P. 31). "Before we advance any farther in his history, it is necessary some account should be given of the opera at Hamburg, as well as some character of the composer and singers. The principal singers were Conratini and Mathyson. The latter was secretary to Sir Cyril Wych, who was resident for the English court, had Handel for his music-master, and was himself a fine player on the harpsichord. Mathyson was no great singer, for which reason he sung only occasionally; but he was a good actor, a good composer of lessons, and a good player on the harpsichord. He wrote and translated several treatises. One that he wrote was on composition. He had thoughts of writing the life of Handel many years before his death. Had he pursued this design, he would have had advantages beyond what we can pretend to, i. e., ampler and fresher materials; at least, for so much of the life as had then elapsed. All that is here intended, is to give a plain, artless account of such particulars as we have been able to learn, and such only as we have reason to believe authentic."

Mattheson. "This whole story, with everything subsequently recorded about the operas in Hamburg, is so full of errors that one can scarcely rectify them. The Conradin (not Conratini) possessed almost perfect beauty, and had withal an extraordinary splendid voice, which extended in equal power from