that Lecerf de la Vieville wrote his _Comparaison de la musique française et de la musique italienne_=>that Lecerf de la Viéville wrote his _Comparaison de la musique française et de la musique italienne_ * * * * * FOOTNOTES: [1] The genealogical tree of Handel has been prepared by Karl Eduard Förstemann: _Georg Friedrich Haendel's Stammbaum_, 1844, Breitkopf. The name of Handel was very common at Halle in different forms (_Hendel_, _Hendeler_, _Händeler_, _Hendtler_). One would say that its derivation signified "merchant." G. F. Handel wrote it in Italian _Hendel_, in English and French _Handel_, in German _Händel_. [2] It is interesting to note that Johann Sebastian Bach was born at Eisenach on March 21, 1685. [3] Of the four children by the second marriage, the first died at birth. George Frederick had two sisters: one, two years, the other, five years younger than himself. [4] He died in 1672. [5] Legendary anecdotes of the little Handel are often quoted, showing him rising from his bed in the middle of the night to play a little clavichord, which was concealed in an upper garret. [6] See the Preface which the choirmaster of the Thomas School at Leipzig, Tobias Michael, wrote to the second part of his _Musikalische Seelenlust_ (1637); and in the life of Rosenmüller the story of the scandalous affair which in 1655 forced this fine musician to flee from his country (August Horneffer: _Johann Rosenmüller_, 1898). [7] F. W. Zachau was born in 1663 at Leipzig, and died prematurely in 1712. His father came from Berlin. The original spelling of the name was _Zachoff_. [8] Since the publication of the works of Zachau by Max Seiffert in the _Denkmäler deutscher Tonkunst_, Vols. XXI and XXII, 1905, Breitkopf. [9] Matheson refers to this briefly also, but the later historians, Chrysander, Volbach, Kretzschmar, Sedley Taylor have not taken any account of these words, which they attribute to the generosity of Handel, and to the malevolence of Matheson. In their judgment he did not even know the works of Zachau--this is very hard on Handel's master. Since the publication of the _Denkmäler_ it is impossible not to recognize in Zachau the true originator of his style, and even, so to speak, of the genius of Handel. [10] _Lebensbeschreibung Haendels_ (1761). [11] One notices many of Kerl's themes in one of Handel's Organ concertos, and in a Concerto Grosso. A _canzone_ of Kerl; also a _capriccio_ of Strungk has been transferred bodily into two choruses of _Israel in Egypt_ (Max Seiffert: _Haendels Verhältnis zu Tonwerken ælterer deutscher Meister_, Jahrbuch Peters, 1907). [12] The two parts of the Clavier Exercises of Kuhnau appeared in 1689 and 1692. The new Clavier Pieces in 1696 and the Bible Sonatas in 1700. (See the Edition of Kuhnau's clavier works by Karl Pasler in the _Denkmäler deutscher Tonkunst_, 1901).