In the spring of 1703 he took the decisive step; he abandoned the law forever, and left Halle, in order to ascertain through his own experience the condition of musical matters in the world at large. Church cantatas and motettes, organ and clavier playing could not continue, in the long run, to be the sole objects of his activity. Bach was satisfied in such a sphere; Handel was attracted by secular music and courted publicity. The opera, established in Italy, had been cultivated in Germany in the seventeenth century only at the royal courts. But since 1678 it had found a home in the free city of Hamburg, where, in the year 1695, it had entered upon its most brilliant period. Reinhard Keiser, born at Teuchern near Weissenfels in 1674, a man of more genius than any German operatic writer of his time, had composed for it and decided the direction it was to follow. When Handel arrived in the city, Keiser had also undertaken to conduct the business portion of the enterprise, for which he was by no means adapted, and the value of his services was gradually diminishing. But for an artist in the dawn of his career, stimulating influences were here at work. What Handel especially wished to acquire--the art of strong, beautiful, universally effective melody--Keiser's opera offered him the best opportunity for acquiring, if he desired to remain in the sphere of German music. He applied for admission to the theatre orchestra, took his place very modestly as second violin, and kept in the background as much as possible. But on one occasion, in the absence of the accompanying pianist, Handel undertook to fill his place and excited great admiration by his masterly performance. Through the friendship of Johann Mattheson, a native Hamburger, some years older than Handel and at that time principal tenor at the opera, he was introduced into the society of the place. But he did not allow himself to be drawn into the gay life of which Keiser was the leading spirit. In the company of Mattheson he once rode over to Lübeck, and made the acquaintance of Buxtehude, before whom he played. This happened only a little in advance of Bach's journey from Arnstadt to Buxtehude. It was probably on the return trip from Lübeck that Bach chose to pass through Hamburg, so that the two greatest musicians of their day traveled thither almost at the same time without any knowledge of each other, nor did they ever become personally acquainted in after years. In 1704, probably for performance in Holy Week, Handel composed his Passion music, having followed the account given in the gospel of John. The poetic text was furnished by Christian Postel, who formerly had written also for the operatic stage. Handel's first attempt at an opera was in the following year. This work, "Almira," was brought out in the carnival period of 1705 and excited the jealousy of Keiser himself, through the extraordinary applause which it received. After this followed "Nero" and "Florindo and Daphne,"