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Published online by Cambridge University Press: 05 June 2012
Although Handel successfully completed his second subscription series in March 1743, the season took its toll on his health. To the tensions caused by the ‘clamour’ over the performances of Messiah were added disagreements with two of his most essential friends, his copyist–manager John Christopher Smith and jennens himself. The Daily Advertiser for 11 April 1743 reported: ‘Mr. Handel, who has been dangerously ill, is now recover'd’, but Jennens remained concerned:
[CJ to EH]
Gops. Apr. 29 1743
I hear Handel has a return of his Paralytick Disorder, which affects his Head & Speech. He talks of spending a year abroad, so that we are to expect no Musick next year; & since the Town has lost it's only Charm, I'll stay in the Country as long as ever I can.
Shortly after, on May 4, Horace Walpole wrote: ‘We are likely at last to have no Opera next year: Handel has had a palsy, and can't compose’. In fact, Handel recovered sufficiently quickly to compose Semele and the Dettingen Te Deum during June and July. He then turned his mind towards a new oratorio for his next season and, avoiding Jennens, went to James Miller for Joseph and his Brethren, composed during August and September. By then plans for a return to Dublin, or for a convalescent year abroad, must have been set aside.
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