powerful troupe. For this Handel wrote 14 operas, including Radamisto (1720), Muzio Scevola (1721, 3d act only, the others being by Bononcini and Mattei), Ottone (1722), Tamerlano (1724), Rodelinda (1725), Scipione (1726), Alessandro (1726), etc. From 1721 the bitter rivalry between him and Bononcini was taken up by numerous partisans, became entangled with the political antipathy between Whigs and Tories, was inflamed by intrigues and competitions between leading singers, especially Senesino and the prime donne Cuzzoni and Bordoni (later Hasse's wife), finally led to disgraceful riots in the theatre, and in 1728 ruined the enterprise. Handel's self-respect then impelled him to organize a company of his own, for which he wrote 13 more operas, including Lotario (1729), Poro (1731), Ezio (1732), Arianna (1733), and several pasticcios and hasty works. The hostility of Bononcini, backed by the prominent Marlboroughs, led in 1733 to the formation of a rival company, to which Senesino deserted, and in which, after Bononcini's disgrace, Porpora, Hasse and other famous opera-writers coöperated. In 1737 the two enterprises ruined each other, Handel losing all his savings and suffering a partial stroke of paralysis. In his efforts to hold his public he had revived Esther with dramatic action, also Acis and Galatea, had produced the oratorios Deborah and Athaliah (both 1733), and had also written fine court anthems and considerable instrumental music.
He was now 53 years old. From this time he practically gave up operatic music, turning with a sure instinct to oratorios. He now produced about 15 choral works, on which his modern renown almost wholly rests, including Saul (1739), Israel in Egypt (1739), the serenata L'Allegro, etc. (1740), The Messiah (1742), Samson (1743), Judas Maccabæus (1747), Joshua (1748), Solomon (1749), Theodora (1750) and Jephtha (1752)—The Messiah being produced on a concert-tour to Dublin. These works vary in method, the majority being modeled in dramatic form, while Israel in Egypt is unique for its gigantic series of pictorial 'plague' choruses, and The Messiah, following its masterly libretto (by Charles Jennens), is almost wholly contemplative and devotional. In them all the choral numbers are lifted to a chief place and developed with extraordinary variety and vigor, thus constituting a musical type of great importance. The appeal of these works to English religious feeling and their eminent intrinsic value secured for them not only immediate popularity, but an enduring influence upon subsequent English composers. Their recognition by Continental critics was slow, however, so that their general influence came much later. In his later years Handel's enemies disappeared and his powers as composer, conductor and organist were universally acknowledged. In 1753 he became almost totally blind, but continued active till within ten days of his death. He was buried in Westminster Abbey with notable public honor.
Personally, Handel was bluff and hearty, much inclined to society and with keen insight into character. He was blunt, outspoken, sometimes caustic, yet generous and strictly honorable. His handling of singers and players was imperious, but often shrewd and clever. As life progressed, his inborn German seriousness became more apparent, and it is clear that his religious works were expressions of earnest conviction and feeling. He was an indefatigable worker and in composition exceedingly rapid, since his command of resources
