At Rome Handel composed his Trionfo del Tempo, the words of which were written for him by the Cardinal Pamphilii, and a kind of _mystery_, or oratorio, La Resurrezione. The former he afterwards brought out in London, with English words by Dr. Morell, under the title of the Triumph of Time and Truth. From Rome he went to Naples, where he was treated with every mark of distinction. But he now resolved, notwithstanding the many attempts made to keep him in Italy, to return to Germany; and in 1710 reached Hanover, where he found a generous patron in the Elector, who subsequently ascended the English throne as George I. Here he met the learned composer, Steffani, who, having arrived at a time of life when retirement becomes desirable, resigned his office of Maestro di Capella to the Elector, and Handel was appointed his successor, with a salary of 1500 crowns, upon condition that he would return to the court of Hanover at the termination of his travels.
Towards the end of 1710 Handel arrived in London. He was soon introduced at court, and honoured with marks of Queen Anne’s favour. Aaron Hill was then manager of the Italian opera, and immediately sketched a drama from Tasso’s Jerusalem, which Rossi worked into an opera under the name of Rinaldo, and Handel set to music. This was brought out in March, 1711; and it is stated in the preface that it was composed in a fortnight, a strong recommendation of a work to those who delight in the wonderful rather than in the excellent: but in fact there is nothing in this which could have put the composer to much expense either of time or thought. Handel undoubtedly wrote better operas than any of his contemporaries or predecessors; but he was controlled by the habits and taste of the day, and knew by experience that two or three good pieces were as much as the fashionable frequenters of the Italian theatre would listen to, in his time.
At the close of 1711 he returned to Hanover, but revisited London late in 1712; and shortly after was selected, not without many murmurs from English musicians, to compose a Te Deum and Jubilate on occasion of the peace of Utrecht. The Queen settled on him a pension of two hundred pounds as the reward of his labour,—and as he was solicited to write again for the Italian stage, he never thought of returning to his engagement at Hanover, till the accession of the Elector to the British throne reminded him of his neglect of his royal employer and patron. On the arrival of George I. in London, Handel wanted the courage to present himself at court; but his friend, Baron Kilmansegge, had the address to get him restored to royal favour. The pleasing _Water-Music_, performed during an excursion made up the river by the King, was the means by which the German baron brought about the reconciliation; and this was accompanied by an addition of two hundred pounds to the pension granted by Queen Anne.