Handel and Mattheson bury the hatchet
Synopsis
Now 18th-century opera is supposed to be a rather staid and stuffy affair. These operas invariably had happy endings, with all the messy human passion and conflicts amicably resolved by the opera\u2019s finale.
But 18th-century opera could arouse some serious emotion offstage. In 1704, an 18-year-old composer named George Frideric Handel was employed as a violinist and harpsichordist in the orchestra of the Hamburg opera house. He made the acquaintance of another young composer, 23-year-old Johann Mattheson. The two became fast friends until, that is, a December performance of Mattheson\u2019s opera Cleopatra, during which Handel refused to turn over the harpsichord to Mattheson.
\u201cHey, it\u2019s my opera, after all \u2014 move over!\u201d Mattheson must have said, but to no avail.
One thing led to another, and the result was a duel. It is said that Handel\u2019s life was saved by a button on his coat that deflected one of Mattheson\u2019s more lethal sword-thrusts.
Thankfully, in the best tradition of 18th-century opera, the two reconciled on today\u2019s date in 1704, dining together and attending a Hamburg rehearsal of Handel\u2019s first opera, Almira, becoming, as Mattheson put it, \u201cbetter friends than ever.\u201d
Music Played in Today's Program
George Frederic Handel (1685-1757) Oboe Concerto No. 3; Heinz Holliger, oboe; English Chamber Orchestra; Raymond Leppard, cond. Philips 454 363