his mother, and in January 1703, set out for Hamburg to seek his fortune.

The Opera House Orchestra needed a supplementary violin. It was a very small post, but he took it, pretending not to be able to do anything better. However a chance soon came his way to show what he was capable of. One day the conductor, who always presided at the harpsichord, was absent, and no one was there to take his place. Without delay George came forward and took his vacant seat. He conducted so ably, that he secured the position for himself.

The young musician led a busy life in Hamburg, filled with teaching, study and composition. As his fame increased he secured more pupils, and he was not only able to support himself, but could send some money to his mother. He believed in saving money whenever he could; he knew a man should not only be self supporting, but somewhat independent, in order to produce works of art.

Handel now turned his attention to opera, composing "Almira, Queen of Castile," which was produced in Hamburg early in January 1705. This success encouraged him to write others; indeed he was the author of forty operas, which are only remembered now by an occasional aria. During these several years of hard work he had looked forward to a journey to Italy, for study. He was now a composer of some note and decided it was high time to carry out his cherished desire.

He remained some time in Florence and composed the opera "Rodrigo," which was performed with great success. While in Venice he brought out another opera, "Agrippina," which had even greater success. Rome delighted him especially and he returned for a second time in 1709. Here he composed his first oratorio, the "Resurrection," which was produced there. Handel returned to Germany the following year. The Elector of Hanover was kind to him, and offered him the post of Capellmeister, with a salary of about fifteen hundred dollars. He had long desired to visit England, and the Elector gave him leave of absence. First, however, he went to Halle to see his mother and his old teacher. We can imagine the joy of the meeting, and how proud and happy both were at the success of the young musician. After a little time spent with his dear ones, he set out for England.

Handel came to London, preceded by the fame of his Italian success. Italian opera was the vogue just then in the English capital, but it was so badly produced that a man of Handel's genius was needed to properly set it before the people. He had not been long on English soil when he produced his opera "Rinaldo," at the Queen's Theater; it had taken him just two weeks to compose the opera. It had great success and ran night after night. There are many beautiful airs in "Rinaldo," some of which we hear to-day with the deepest pleasure. "Lascia ch'jo pianga" and "Cara si's sposa" are two of them. The Londoners had welcomed Handel with great cordiality and with his new opera he was firmly established in their regard. With the young musician likewise there seemed to be a sincere affection for England. He returned in due time to his duties in Hanover, but he felt that London was the field for his future activities.

It was not very long after his return to Germany that he sought another leave of absence to visit England, promising to return within a "reasonable time." London received him with open arms and many great people showered favors upon him. Lord Burlington invited him to his residence in Piccadilly, which at that time consisted of green fields. The only return to be made for all this social and home luxury was that he should conduct the Earl's chamber concerts. Handel devoted his abundant leisure to composition, at which he worked with much ardor. His fame was making great strides, and when the Peace of Utrecht was signed and a Thanksgiving service was to be held in St. Paul's, he was commissioned to compose a Te Deum and Jubilate. To show appreciation for his work and in honor of the event, Queen Anne awarded Handel a life pension of a thousand dollars.

The death of the Queen, not long after, brought the Elector of Hanover to England, to succeed her as George I. It was not likely that King George would look with favor on his former Capellmeister, who had so long deserted his post. But an opportunity soon came to placate his Majesty. A royal entertainment, with decorated barges on the Thames was arranged. An orchestra was to furnish the music, and the Lord Chamberlain commissioned Handel to compose music for the fête. He wrote a series of pieces, since known as "Water Music." The king was greatly delighted with the music, had it repeated, and learning that Handel conducted in person, sent for him, forgave all and granted him another pension of a thousand dollars. He was also appointed teacher to the daughters of the Prince of Wales, at a salary of a thousand a year. With the combined sum (three thousand dollars) which he now received, he felt quite independent, indeed a man of means.

Not long after this Handel was appointed Chapel master to the Duke of Chandos, and was expected to live at the princely mansion he inhabited. The size and magnificence of The Cannons was the talk of the country for miles around. Here the composer lived and worked, played the organ in the chapel, composed church music for the service and wrote his first English oratorio, "Esther." This was performed in the Duke's chapel, and the Duke on this occasion handed the composer five thousand dollars. Numerous compositions for the harpsichord belong to this period, among them the air and variations known as "The Harmonious Blacksmith." The story goes that Handel was walking to Cannons through the village of Edgeware, and being overtaken by a heavy shower, sought shelter in the smithy. The blacksmith was singing at his work and his hammer kept time with his song. The composer was struck with the air and its accompaniment, and as soon as he reached home, wrote out the tune with the variations. This story has been disputed, and it is not known whether it is true or not.

When Handel first came to London, he had done much to encourage the production of opera in the Italian style. Later these productions had to be given up for lack of money, and the King's Theater remained closed for a long time. Finally a number of rich men formed a society to revive opera in London. The King subscribed liberally to the venture. Handel was at once engaged as composer and impressario. He started work on a new opera and when that was well along, set out for Germany, going to Dresden to select singers. On his return he stopped at Halle, where his mother was still living, but his old teacher had passed away.

The new opera "Radamisto" was ready early in 1720, and produced at the Royal Academy of Music, as the theater was now called. The success of the production was tremendous. But Handel, by his self-will had stirred up envy and jealousy, and an opposition party was formed, headed by his old enemy from Hamburg, Buononcini, who had come to London to try his fortunes. A test opera was planned, of which Handel wrote the third act, Buononcini the second and a third musician the first. When the new work was performed, the third act was pronounced by the judges much superior to the second. But Buononcini's friends would not accept defeat, and the battle between all parties was violent. Newspapers were full of it, and many verses were written. Handel cared not a whit for all this tempest, but calmly went his way.

In 1723, his opera "Ottone" was to be produced. The great singer Cuzzoni had been engaged, but the capricious lady did not arrive in England till the rehearsals were far advanced, which of course did not please the composer. When she did appear she refused to sing the aria as he had composed it. He flew into a rage, took her by the arm and threatened to throw her out of the window unless she obeyed. The singer was so frightened by his anger that she sang as he directed, and made a great success of the aria.

Handel's industry in composing for the Royal Academy of Music was untiring. For the first eight