made Brind's acquaintance first through young Maurice Greene, then aged
seventeen, who had been a chorister of St. Paul's, and, after his voice
broke in 1710, was articled to Brind as a pupil. After service was over,
Handel, Greene, and some of the members of the choir would repair to
the Queen's Arms Tavern close by for an evening of music and musical
conversation.

This friendly association with St. Paul's was no doubt of great value to
Handel in his next musical undertakings--the _Birthday Ode_ for Queen
Anne, and the _Te Deum_ which celebrated the Peace of Utrecht in 1713.
The Queen's patronage may very likely have been obtained for him by Lady
Burlington, as she was one of the Ladies of the Bedchamber. These two
works are important landmarks in Handel's career, as they were his first
compositions to English words, and his first compositions for English
ceremonial occasions. They marked him out as the natural successor to
Purcell, and it is evident that in each case he took Purcell's similar
composition as his model. Up till now he had been a foreigner engaged to
provide Italian opera for the amusement of fashionable society; with the
_Birthday Ode_ he became a court musician to the Queen of England, and with
the _Te Deum_ his music entered St. Paul's.

The practical result of the _Ode_ was a pension of L200 a year conferred
on him by Queen Anne. It is clear that he now regarded England as his
permanent home, regardless of the fact that he was officially the servant
of the Elector of Hanover and had undertaken to return thither "within a
reasonable time." But on August 1, 1714, the Queen died, and the Elector
was proclaimed King of England. When George I came over to his new country,
Handel did not dare to show himself at court, and all efforts on the part
of his friends to effect a reconciliation with the King were in vain. The
King went to see his new opera, _Amadigi_, which came out late in the