287, &c.) In 'The Bee' for March 1733 there is an epigram in which Walpole and Handel are represented as agreeing to 'fleece' the English public, the one by the tax on tobacco, and the other by the high prices charged for the oratorio performance. Although a certain amount of truth probably underlay the final statement that 'poor Deborah' was 'lost' by the process, it is evident that the non-dramatic works of the composer were gradually gaining ground in popular estimation. In July Handel went to Oxford by the invitation of the vice-chancellor, Dr. William Holmes, to conduct performances of 'Esther,' 'Deborah,' 'Acis,' the 'Utrecht Te Deum and Jubilate,' a selection from the 'Coronation Anthem,' and a work written for the occasion, 'Athaliah,' produced 10 July. That a foreigner should be asked to provide the music for the celebration of the 'public act' aroused much ill-feeling (Reliquiæ Hearnianæ, ed. Bliss, ii. 778-9, 935), and occasioned the production of a new set of lampoons (The Oxford Act, a Ballad Opera, London, 1733). The composer was offered a doctor's degree, but declined the honour. In the 'A. B. C. Dario Musico,' 1780, Handel is said to have refused on the ground that he disliked 'throwing his money away for dat de blockhead wish.' But the story, Chrysander points out, is unauthentic, since an honorary degree was conferred without more than a nominal charge. It is probable that in the summer of this year, as Hawkins (Hist. v. 318) states, he went to Italy once more to get singers for his new season. Of the two great sopranists whom he heard there he preferred Carestini, strangely enough leaving Farinelli to be engaged by his rivals. He opened his season on 30 Oct., but until 4 Dec., when Carestini appeared, no very great attraction was offered, nor was any new work produced until 26 Jan. 1734, when 'Arianna' was given for the first time. As the score shows that it was finished on 5 Oct. 1733, its identity of subject with the first opera given by the other side, Porpora's 'Ariadne,' can only have been accidental. On 14 March Handel's pupil, the Princess Royal, was married to the Prince of Orange, and on the previous evening a serenata entitled 'Parnasso in Festa' was performed. It was little more than an arrangement of Earts of 'Athaliah,' a fact which accounts 3r the complete oratorio not being given in London until 1 April 1735. For the wedding anthem, 'This is the day,' the same oratorio and the seventh Chandos anthem were laid under contribution. On 18 May 1735 a new version of 'Pastor Fido' was produced ; the work was epeated till 2 July. The contract with Heidegger, the proprietor of the King's Theatre, expired four days afterwards, and by some chance or stratagem, the explanation of which is not forthcoming, the rival company succeeded in obtaining possession of Handel's theatre. Handel had to open his next season, which began on 5 Oct., with a revival of 'Arianna,' at the Lincoln's Inn Fields Theatre. On 9 Nov. he removed to Rich's new theatre in Covent Garden, and 'Pastor Fido' was again given, together with a 'new Dramatick Entertainment in Musick called Terpsicore' (Theatrical Register, quoted by Schoelcher, p. 172). This was a ballet interspersed with songs, in the book of words called 'prologo.' 'Orestes,' another arrangement from earlier compositions (18 Dec.), served as a stopgap until 'Ariodante,' a work which had been composed for some months, was ready for production. The first performance took place on 8 Jan. 1735. During Lent the three oratorios, 'Esther,' 'Deborah,' and 'Athaliah,' were performed with the addition of organ concertos played between the parts by Handel. 'Alcina' (16 April) carried the season on till its conclusion on 2 July, being given eighteen times consecutively. By the end of his first season at Covent Garden 9,000l. had been lost, in spite, if we may believe the announcement in the London 'Daily Post' of 4 Nov. 1734, of the renewal of the king's subscription of 1,000l. (Burney, Hist. iv. 382). The rival company had claimed, and had apparently received, the continuance of the royal subsidy as though it were connected with the King's Theatre, irrespective of the change of management. Malcolm (Anecdotes of the Manners and Customs of London, p. 354), states that Handel received only 500l. as a royal subscription. Nevertheless, both schemes failed. The losses of the rival company were greater than Handel's by 3,000l., and on the secession of Farinelli in 1737 that undertaking broke down altogether. In July 1735 Handel paid a visit to Tunbridge. In the early part of the next season no new opera, but a far worthier work, was produced, the famous setting of Dry den's ode on the power of music, called 'Alexander's Feast.' The work, which was written in the incredibly short time of twelve days, was given with immense success on 19 Feb. 1736 at Covent Garden. For the marriage of Frederick, prince of Wales, with the Princess Augusta of Saxe-Gotha (27 April), a second wedding anthem, 'Sing unto God,' was composed by Handel, this time to new music. At a state visit of the court to the opera on 12 May a new work, 'Atalanta,' was given in honour of the royal wedding.
