ONE:
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ONE:The taste for Italian music was now every day increasing; singers of that nation appeared with great applause at most concerts. In 1703 Italian music was introduced into the theatres as intermezzi, or interludes, consisting of singing and dancing; then whole operas appeared, the music Italian, the words English; and, in 1707, Urbani, a male soprano, and two Italian women, sang their parts all in Italian, the other performers using English. Finally, in 1710, a complete Italian opera was performed at the Queen's Theatre, Haymarket, and from that time the Italian opera was regularly established in London. This led to the arrival of the greatest composer whom the world had yet seen. George Frederick Handel was born at Halle, in Germany, in 1685. He had displayed wonderful genius for music as a mere child, and having, at the age of seven years, astonished the Duke of Saxe Weissenfelsat whose court his brother-in-law was a valetwho found him playing the organ in the chapel, he was, by the Duke's recommendation, regularly educated for the profession of music. At the age of ten, Handel composed the church service for voices and instruments; and after acquiring a great reputation in Hamburgwhere, in 1705, he brought out his "Almira"he proceeded to Florence, where he produced the opera of "Rodrigo," and thence to Venice, Rome, and Naples. After remaining in Italy four years, he was induced to come to England in 1710, at the pressing entreaties of many of the English nobility, to superintend the opera. But, though he was enthusiastically received, the party spirit which raged at that period soon made it impossible to conduct the opera with any degree of self-respect and independence. He therefore abandoned the attempt, having sunk nearly all his fortune in it, and commenced the composition of his noble oratorios. Racine's "Esther," abridged and altered by Humphreys, was set by him, in 1720, for the chapel of the Duke of Chandos at Cannons. It was, however, only by slow degrees that the wonderful genius of Handel was appreciated, yet it won its way against all prejudices and difficulties. In 1731 his "Esther" was performed by the children of the chapel-royal at the house of Bernard Gates, their master, and the following year, at the king's command, at the royal theatre in the Haymarket. It was fortunate for Handel that the monarch was German too, or he might have quitted the country in disgust before his fame had triumphed over faction and ignorance. So far did these operate, that in 1742, when he produced his glorious "Messiah," it was so coldly received that it was treated as a failure. Handel, in deep discouragement, however, gave it another trial in Dublin, where the warm imaginations of the Irish caught all its sublimity, and gave it an enthusiastic reception. On its next presentation in London his audience reversed the former judgment, and the delighted composer then presented the manuscript to the Foundling Hospital, where it was performed annually for the benefit of that excellent institution, and added to its funds ten thousand three hundred pounds. It became the custom, from 1737, to perform oratorios[156] on the Wednesdays and Fridays in Lent. Handel, whose genius has never been surpassed for vigour, spirit, invention, and sublimity, became blind in his latter years. He continued to perform in public, and to compose, till within a week of his death, which took place on April 13, 1759.As this rout was taking place, Bulow, who had beaten back the French battalions from Frischermont and Planchenoit, was approaching La Belle Alliance, and Blucher with the main army soon after appeared following him. At a farmhouse called Maison Rouge, or Maison du Roi, behind La Belle Alliance, the Duke of Wellington and Blucher met and felicitated each other. Blucher, in the Continental manner, embraced and kissed the victorious Duke; and it was agreed that, as the army of Wellington had been fighting hard for eight hours, the Prussians should make the pursuit. Blucher swore that he would follow the French whilst a horse or a man could move, and, with three cheers from the British, he set forward with his troops in chase. So far from "the Guards dying, but not surrendering," these brave men flew now before the stern old Prussian, and immediately in the narrow passage at Genappe they abandoned to him sixty pieces of their cannon. Amongst other spoil they captured the carriage of Napoleon, and found in it, amongst other curious papers, a proclamation for publication the next day at Brussels. As it was moonlight, the Prussians continued the chase till late into the night, slaughtering the fugitives like sheep. Numbers quitted the road and fled across the country, seeking shelter in the woods, where many of them were afterwards found dead or severely wounded. The highway, according to General Gneisenau, was covered with cannon, caissons, carriages, baggage, arms, and property of every kind. The wounded were humanely sent to Brussels, but those who could continue their flight did so till they had reached France, where they sold their horses and arms, and dispersed themselves to their homes. The grand army was no more, with the exception of the division of Grouchy, who made good his retreat to Paris, only to be upbraided by Buonaparte as the cause of his defeat. In this battle and retreat the French lost more men than at Leipsic, the killed and wounded exceeding thirty thousand.
