George Frideric Handel – Life Milestones

Engraving of young George Frideric Handel presented to the Duke of Weissenfels

An engraving depicting young Handel presented to the Duke of Weissenfels — an early moment of recognition.

George Frideric Handel was born on February 23, 1685, in Halle, Germany. Few composers embodied the Baroque spirit as expansively as he did. German by birth, shaped by Italian opera, and ultimately naturalized in Britain, Handel became a defining figure in English musical life.

1685

Born in Halle, Germany.

1696

Composes early sonatas for oboe.

1702

Begins studying law at the University of Halle.

1703

Leaves university and moves to Hamburg, securing a position as a violinist in the opera orchestra.

1705

Premiere of his first opera, Almira.

1710

First visit to England.

1711

London premiere of Rinaldo, a major success.

1712

Settles permanently in London.

1714

His former patron, the Elector of Hanover, becomes King George I of Great Britain.

1717

Composes Water Music for a royal barge procession on the Thames.

1720

Participates in the establishment of the Royal Academy of Music.

1726

Becomes a naturalized British citizen.

1727

Composes coronation anthems for King George II.

1728

The success of John Gay’s The Beggar’s Opera signals changing tastes; the Royal Academy collapses.

1732

The presentation of Esther marks his decisive turn toward English oratorio.

1737

Suffers a stroke from overwork; recovers and resumes composing.

1740

Composes his final opera, Deidamia.

1742

Premiere of Messiah in Dublin on April 13.

1749

Music for the Royal Fireworks is performed to celebrate the Treaty of Aix-la-Chapelle.

1752

Eye surgery leaves him nearly blind.

1759

Dies in London on April 20 and is buried in Westminster Abbey’s Poets’ Corner.

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The premiere of Messiah attracted such demand that announcements reportedly requested ladies to refrain from wearing hoop skirts and gentlemen to leave their swords at home, in order to accommodate more attendees.

As for the tradition of standing during the “Hallelujah” chorus, it is commonly linked to King George II, who is said to have risen during a London performance in 1743. Whether the gesture occurred exactly as described remains historically uncertain. The custom, however, endured — and continues in many performances today.

Handel’s authority was not only theatrical. It was architectural, public, and durable.

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