Handel and Mattheson spent several months in intimate friendship.[66] Handel joined Mattheson at table for meals, and in July and August, 1703, they made a journey together to Lubeck to hear the renowned organist, Dietrich Buxtehude.[67] Buxtehude had thoughts of retiring, and was looking for a successor. The two young men were greatly affected by his talent, but they did not care to succeed him in the post, for it was necessary to wed his daughter[68] to have his organ, and, said Mattheson, "neither of them wanted her."--Two years later they would have met on the road to Lubeck a young musician also going, like them, to pay Buxtehude a visit, not like them, however, in a carriage, but more humbly on foot: J. S. Bach.[69] Nothing makes us realise the importance of Buxtehude in German music better than this magnet-like attraction which he exercised over the German musicians of the eighteenth century. Pirro has remarked at some length his influence on the organ style of J. S. Bach. I consider that it was no less marked, though quite different, on the oratorio style of Handel.[70] Buxtehude gave at St. Mary's Church, Lubeck, his celebrated _Abendmusiken_ (evening concerts), which took place on Sundays from St. Martin's Day to Christmas,[71] by the request of the Merchants' Guilds at Lubeck, which occupied themselves keenly with music.[72] His cantatas, of which the number is considerable,[73] were all composed for these occasions. Writing for a concert public, and not for a religious service, he felt the need of making his music of a kind which would appeal to everyone. Handel later on found himself in similar circumstances, and the same need led them both to a similar technique. Buxtehude avoided in his music the ornate and clustering polyphony which was really his _métier_.[74] He sought nothing but clear, pleasing, and striking designs, and even aimed at descriptive music. He willingly sacrificed himself, by intensifying his expression, and what he lost in abundance he gained in power. The homophonic character of his writing, the neatness of his beautiful melodic designs of a popular clarity,[75] the insistence of the rhythms and the repetition of phrases which sink down into the heart in so obsessive a manner, are all essentially Handelian traits. No less is the magnificent triumph of the ensembles, his manner of painting in bold masses of light and shade.[76] It is to a very high degree, as with the art of Handel, music for everyone. But much time passed before Handel profited by the examples of Buxtehude. On his return from Lubeck he seems to have forgotten them. It was not so, however, for nothing was ever lost on him.