Syracuse, N. Y

Aug. 29, 1853. Father an amateur church organist, mother a choir singer; began music study at six years, played in public at eight; graduated Syracuse High School, 1871; N. Y. Homoeopathic Medical College 1884; pupil in music of Ernst Held, A. J. Good rich, Wm. H. Sherwood, The odor Kullak, Wm. Mason, A. K. Virgil; teacher at various schools of music, including Beethoven Conservatory, St. Louis. Metropolitan Conservatory and Adelphi School of Musical Art, New York; director (1910) of musical department National Park Seminary, 121 HANDEL organist Syracuse, N. Y St. Louis, New York, and suburban towns; musical director at Mon teagle, Term and De Funiak Springs, Fla., Chautauquas; lecturer on music for the Brooklyn Institute and New York City Board of Education; has given lecture recitals throughout Canada and the United States; author of several medical and the following musical books Teaching as a Science and The Art of the Musician; inventor of the Sostenuto or tone-sustaining pedal in general use in grand pianos; a founder of the American Guild of Organists. Handel, Georg Fried rich, compr b Halle, Saxony, Feb. 23, 1685; d. London, Apr. 14, 1759. Son of surgeon-barber who, wishing the son to be a lawyer, refused him all musical instruction; but the boy learned to play on a clavichord which was concealed in the garret; at 8 he played before Duke of Wei enfels so well that the latter overcame the father's objections. After some le ons from Zachau, he met Ariosto and Bononcim at Berlin, and so impre ed the elector by playing and improvising that he wished to send him to Italy, but father still hoped that he would study law; after father’s death, he did enter Halle University 1702, being at same time orgt at Hamburg 1703-1706, he played in orch. under Keiser, became friend of Mat the son and quarreled with him; composed 4 operas, of which Almira was most succe ful. In Italy 1706- 1710 he produced operas and sacred music at Naples, Florence, Borne, and Venice; 1710 after few months as capellmeister to elector of Hanover he went to England, and produced Rinaldo; he was again in England 1712-1714, when elector became George I, and Handel made peace with king only after composition of the beautiful Water Music. After producing his last German work, The Pa ion m Hanover, he became chapel master to Duke of Chandos, for whom he wrote the Chandos anthems, etc. In 1720 undertook direction of Italian Opera for a society known as the Royal Acad, of Mus engaged HANDEL company including Senesino, and produced Rad am is to. Opposition to his succe on part of Bononcim and Ariosto led to Muzto Scevola, for which each one composed one act; continued enmity of Bononcmi, aided by personal enemies of Handel, caused division of London society, 1729 partnei of Heidegger at King’s Theatre; defection of Senesino and acquisition by opposition of such singers as Cuzzom, Farinelh, and Faustina Bordoni, with her husband Ha e, pre ed H. hard; on Heidegger’s retirement, his rivals gained Bong’s Theatre and Handel went to Covent Garden H. became bankrupt 1737, and the other company met no better fate. In 1738 he turned to English oratorio, producing Saul, Isiad in Egypt 1739, Me iah 1742 m Dublin, 1743 m London, Samson 1743, and others. Although again bankrupt 1744, he persisted in composition until blindne 1752, and even thereafter, Triumph of Time and Truth 1757. Ho wrote about 40 operas and about 30 oratorios and occasional anthems, odes, etc edition of his works edited by Chrysander in 94 volumes 1859-94 is final. Personally H was proud, sensitive, nnpatient, given to terrible bursts of rage and profanity, yet generous to singers and those a ociated with him, and to the poor. He frequently plagiarized themes of other composers, partly owing to contemporary carele ne in such matters and partly because of an individual lack of delicacy. His operas are similar to those composed at the time in France and Italy and not much better; his instrumental music is not so original as that of Bach or Couper in; even his organ music is not supreme. He excels in oratorio only; there his power of producing broad and ma ive effect has full sway, and his limitations—lack of delicacy and fine discrimination and tendency toward mechanical means — are not conspicuous. Comparison with Bach rests on their being bom the same year, not on any real resemblance between the laborious, subtle, ince antly original work of the retired organist and the conspicuous achievements of Handel. 122 HANDLO Handlo, Robert de, writer Author of treatise commenting on that of Franco of Cologne, dated 1326; deals with notation, time-values, and modes of rhythm, showing unsettled state of notation. (See Grove.) Dictionary of Musicians