was strictly forbidden to touch a musical instrument; but this mandate was overcome by using an old clavichord which was stored in the garret, to which the boy would steal while the rest slept. When he was six years of age his father set off on a journey to the court of a prince in whose service a relative was. The little Händel was determined not to be left behind, and followed the carriage on foot, begging to be taken in. His father finally relented and took him to the court, where he attracted the notice of the prince by his organ playing. The prince was interested in the boy's future, and persuaded the father to allow him to make a serious study of music.
From the age of nine to twelve Handel composed a church service every week for voices and instruments. He made rapid progress in the study of composition, and, by the time he was fifteen, had written three operas, each of which was performed many nights in the city of Hamburg. From this on, a steady stream of composition flowed from his fertile mind, culminating in those master-works, the series of oratorios, which were the product of his latter days.
142.—A VIOLIN FOR EIGHTEEN PENCE.
The ability to recognize the good points of others in musical matters, or to have the grace to acknowledge the superiority of more talented or better educated people is not, to say the least, common among professional musicians.
But this is true: The greater the real merit of a man, the quicker he is ready to recognize that quality in others; while, by a continual depreciation of the work and ability of others, one only shows his smallness of soul, and frequently creates in the minds of his hearers exactly the opposite impression to that which he desires. In proportion as we have merit we will recognize merit
