[166] One sees by the letters of 1711 that Handel applied himself, even in Germany, to perfecting his knowledge of English. [167] The House of Hanover was, as one knows, an aspirant for the succession to the throne of England, and it behoved it to keep on good terms with Queen Anne, who was partial to Handel. [168] For his second version of this work in 1734 he then added some choruses. [169] It is the only opera of Handel's which is in five acts. The poem was by Haym. [170] Purcell had written in 1694 a _Te Deum_ and _Jubilate_. [171] He wrote, it is said, for the little amateur theatre of Burlington an opera _Silla_, 1714, of which he reproduced the best parts in _Amadigi_. One can also date from this time a certain number of clavier pieces, which appeared in a volume in 1720. [172] The legend records that Handel composed in August, 1715, the famous Water Music to regain the favour of the King. Installed on a boat, with a small "wind" orchestra, he had this work performed during one of the King's state processions on the Thames. The King was delighted, and renewed his friendship with Handel. Unfortunately, the Water Music appears to have been written two years later than the return to Court of Handel, and the scene placed by Chrysander on August 22, 1715, in his first volume--in October, 1715, by Fischer, _Musik in Hannover_--is changed by Chrysander in his third volume to July 17, 1717, with a cutting from one of the newspapers of that time, which does not seem, however, convincing to the others. Be that as it may, the work is from this period, and the first publication of it appeared about 1720. [173] Keiser in 1712, _Der für die Sünden der Welt gemarterte und sterbende Jesus_ (Jesus Crucified and Dying for the Sins of the World). Then Telemann in 1716, some months after Handel's arrival; a little later, Mattheson. Handel's _Passion_ was executed for the first time at Hamburg during Lent 1717, when Handel had already returned to England. The four Passions of Keiser, Telemann, Mattheson, and Handel, were given in 1719 at the Hamburg Cathedral, Mattheson being choirmaster. [174] Handel and Mattheson exchanged some correspondence. Mattheson was about to engage in a musical polemic with the organist and theorist, Buttstedt. He proved the need of building on the sound foundations of the German music. He proposed a suggestion for an enquiry on the Greek modes of Solmisation. Handel, pressed on these questions, responded tardily in 1719; he sided with Mattheson, a declared modernist against the old modal period. Mattheson also asked for details of his life for the purpose of including him in his biographical dictionary which he had in view. Handel excused himself on account of the concentration necessary. He merely promised in a vague manner to relate later on the principal stages which he had taken in the course of his profession, but Mattheson drew nothing more from this source.