On Feb. 27, 1740, a cantata entitled " L'Allegro, il Pensieroso ed il Moderato " was presented at Lincoln's Inn Theatre. The Milton lover at once raises inquiring eyebrows over the third division, Il Moderato? It seems that the text was prepared for Handel by Charles Jennens, an amateur poet, and his supplementing Milton's immortal verses with a poem of his own, built in the Miltonian form and rather taking issue with the great poet's conclusions, is one of the most amusing and unconsciously audacious affairs in literature. The lines of the famous poem have been little changed, but the plan of presenting the sentiments of Allegro and Pensieroso in alternating stanzas, whereas in the poem L'Allegro speaks until she has finished and then Pensieroso begins, was agreed upon between composer and librettist, thus securing musical diversity is giving the matter rather too much the effect of an old-fashioned debate.
The following extract from a letter written to Jennens by Handel from Dublin, Dec. 29, 1741, would make it appear that either the great Saxon was rather more gracious than we have been led to believe, or that his literary tastes were unformed :
" I opened with the 'Allegro, Pensieroso and Moderato,' and I assure you that the words of the Moderato are vastly admired. The audience being composed (besides the Flower of Ladies of Distinction and other People of the greatest uality) of so many Bishops, Deans, Heads of the College, the most eminent people in the law, as the Chancellor, Auditor General, etc., etc., all of which are very much taken with the Poetry so that I am desired to perform it again the next time."
It seems rather strange to us that Handel should have encouraged Jennens in his amateur venture, but these two were intimate friends and it may be that Handel's love for his friend blinded him to the absurdity of the " Moderato." L'Allegro and Pensieroso are not to be regarded as methods of living, but as moods of mankind. What a humdrum existence, if we had to keep the middle course constantly ! Mirth and gaiety, sadness and sorrow, are but signs of a healthy, vigorous mind ; moderation, which never reaches the heights of one, nor sinks to the depths of the other, lacks intensity, lacks color, and descending into mere mediocrity, becomes commonplace and unpoetic.
Later, however, Handel omitted the " Moderato " entirely, Dryden's " Ode on St. Cecilia's Day," composed the year previous, being substituted. The work of the composition was speedy as was usual with Handel, for the original score in the Royal Library at Buckingham Palace bears at the beginning the date Jan. 19, 1740, and at the end that of Feb. 4, 1740. The advertisement in the London Daily Post announced, " Never performed before at the Royal Theatre, Lincoln's Inn Fields, this day will be performed L'Allegro, etc., with two new concertos for several instruments, and a new concerto on the organ. Boxes, half a guinea; pit, 5s; first gallery, 3s; upper gallery, 2s. Pit and gallery opened at four and boxes at five."
The text of "L'Allegro " is without plot and utterly undramatic, yet Handel has succeeded in giving the music vivacity and variety, the work ranking indeed among his most meritorious, and constituting in itself a revelation of his mastery of expression. It proved at first " caviare to the general," and was one of the disappointments which sent Handel to Dublin in 1741. There was, however, in London an occasional one who appreciated its value. In the Gentleman's Magazine for May, 1740, a long poetical tribute signed G. O. begins :
TO MR. HANDEL
On hearing Alexander's Feast, L'Allegro, Il Pensieroso, etc.
"If ever Arion's music calmed the floods,
And Orpheus ever drew the dancing woods;
Why do not British trees and forests throng
To hear the sweeter notes of Handel's song?
This does the falsehood of the fable prove,
Or seas and woods, when Handel harps, wou'd move."
The work met with its due of praise before Handel's career was ended and it was many times performed. The cantata is without overture, but was intended to be pre-ceded by an orchestral concerto. In vigorous recitative Allegro opens the famous discussion beginning in uncomplimentary fashion :
"Hence, loathed melancholy,
Of Cerberus and blackest midnight born,
In Stygian cave forlorn;
'Mongst horrid shapes, and shrieks, and sights unholy."
Pensieroso, without refuting the foul charge (also in recitative), addresses a few home truths to "vain deluding Joys "—" the fickle pensioners of Morpheus' train."
Allegro now drops unpleasant personalities, and ad-dresses a charming aria to his especial Goddess " fair and free, in heaven yclept Euphrosyne," and Pensieroso, not to be outdone, invites the presence of his deity, " divinest Melancholy." Allegro true to his character breaks into that most irresistible of all laughing songs,
"Haste thee, nymph and bring with thee,
Jest and youthful jollity,"
of whose music nothing stronger may be said than that Handel has trammeled none of the mirthfulness of the lines. The fun is infectious and the chorus echoes the glee which still ripples through Allegro's minuet, " Come and trip it as you go." Pensieroso, who has remained patiently in the background, advances to sustain his case with. the recitative, " Come pensive nun," the aria " Come, but keep thy wonted state," and a second recitative, " There held in holy passion still," and is supported by his first grave and tender chorus, " Join with thee, calm Peace and Quiet."
Arrogant Allegro again bids "loathed melancholy " hence and sues in aria, " Mirth, admit me of thy crew." Pensieroso returns with the recitative,
"First and chief on golden wing
The Cherub Contemplation bring."
And in one of the most admired of the arias makes allusion gently rebuking to boisterous Allegro —" Sweet bird, that shun'st the noise of folly," whose brilliant flute accompaniment imitates the ravishing notes of the nightingale. Allegro's aria, " Mirth, admit me of thy crew," gives opportunity for the painting of the jocund sounds of the hunt, and Pensieroso depicts the fair grace of the more serious mood in his aria (possibly the gem of the work), " Oft, on a plot of rising ground, the far off curfew sound," ringing somberly through the score ; and in the same contemplative style sings, " Far from all resort of mirth."
Allegro has four numbers in rebuttal and chooses rural cheer for the illustration he gives in the arias, " Let me wander not unseen," and "Straight mine eye hath caught new pleasures ;" and recitative, "Mountains, on whose barren breast," and the final gay chorus, " Or let the merry bells ring round."
In part two Pensieroso, out of patience with much prating on the part of his rival, grows more caustic than his habit in the recitative,
"Hence, vain deluding Joys
The brood of Folly without father bred."
But soon, his calm grave self again, he gives stately per-suasion (in most impressive aria), and follows with a second characteristic aria, " But, 0 sad virgin, that thy power."
Allegro sustains his side with a solo and chorus presenting a sprightly picture of a tournament, " Populous cities please me then," and as is the logical sequence of such concourse of men and maids, the aria, " There let Hymen oft appear." Pensieroso celebrates the quiet virtues of night in the canzonet, " Hide me from Day's garish eye," while flaunting Allegro declares I'll to the well-trod stage anon." He also gives melody to that immortal passage be-ginning, "And ever, against eating cares ;" declares in characteristic aria " Orpheus himself may heave his head," and concludes with the aria and chorus,
"These delights if thou canst give Mirth,
with thee I mean to live."
To Pensieroso is given the last hearing. In the recitative, " But let my due feet never fail," he shows the peace of the " studious cloisters pale." The stately chorus, " There let the pealing organ blow," originally had pauses for the organ improvisation to which Handel treated his Eighteenth Century audiences. Pensieroso's aria, " May at last my weary age," is followed by the majestic fugued conclusion,
"These pleasures, Melancholy give
And we with thee will choose to live."
Moderato sagely points out the wisdom of the middle course, and makes respectable allusions to such virtues as Temperance, Health, Contentment, Frugality, and Chaste Love led by Reason.
The Handelian measures lose nothing of their dignity because Milton has given place to Jennens. But is not the text of Beethoven's " Fidelio" hopelessly commonplace, and that of Mozart's " Magic Flute" even atrocious?
