The companion figure to Bach, in this epoch, was that of George Frederick Haendel, who was born at the little town of Halle in the same year as Bach, 1685, and died in London in 1759. Haendel's father was a physician, and although the boy showed considerable aptitude for music his father did not think favorably of his pursuing it as a vocation; but the fates were too strong for him. When George Frederick was about eight years old, he managed to go with his father to the court of the duke of Saxe Weissenfels, some distance away, where an older brother was in service. Here he obtained access to the organ in the chapel, and was overheard by the duke, who recognized the boy's talent, and, with the authority inherent in princely rank, admonished the father that on no account was he to thwart so gifted an inclination. Accordingly the youngster had lessons in music upon the clavier, the organ and the violin, the three standard instruments of the time. The older Haendel died, and before he was nineteen George Frederick made his way to Hamburg, which was then one of the musical centers of Germany. Here he obtained an engagement in the theater orchestra as _ripieno_ violin, a sort of fifth wheel in the orchestral chariot, its duty being that of filling in missing parts. The boy was then rather more than six feet high, heavy and awkward. He was an indifferent violinist, and the other players were disposed to make a butt of him, although he was known to be an accomplished harpsichordist. It happened presently, however, that the leader of the orchestra, who presided at the harpsichord, fell sick, and Haendel, being at the same time the best harpsichordist and the poorest violinist of all, was placed at the head. He carried the rehearsals and the performances through with such spirit that it resulted in his being made assistant director, and two works of his were presently performed--"Almira" and "Nero." The first made a great hit and was retained in performance for several weeks. The Italian ambassador immediately recognized the talent of the young man, and offered to take him to Italy in his suite, but Haendel declined, preferring to go with his own money, which, after the production of "Nero," and its successful run of several weeks, he was able to do. [Illustration: Fig. 52. GEORGE FREDERICK HAeNDEL. 1685-1759.]