The work that starts the second half was an important one for Handel, for he used the Sonata II Aria of Armonico Tributo at least three times in his own music; it can be heard most notably in the aria "Non hò cor" from Agrippina. Not for Handel alone, George Muffat's collection of suites entitled Armonico Tributo (1682) influenced the whole of German instrumental music. Although Muffat studied in the French court of Lully, his sonata/suites were largely inspired by the Italian concerto grosso style of Arcangelo Corelli. Through its publication and wide distribution, Armonico Tributo familiarized Austria and Germany with the brilliant Italian technique that contrasted large ensemble orchestration with solo playing. Handel would continue to borrow the melodies, bass lines, and the concerto grosso style of Armonico Tributo along with Muffat's subsequent publications for use in his own dramatic works and instrumental music.

This leads us again to Hamburg, the composer Johann Mattheson, and his opera Cleopatra. If Reinhard Keiser could be considered the king of Hamburg opera in the early 1700's, then Mattheson was the crown prince. And while we should credit Keiser with much of Handel's early musical ideas, we should credit Mattheson with something more important: Handel's career and survival. Hamburg native Mattheson shepherded the young Handel during his first year in town to a violin position at the opera. Mattheson also recounted teaching Handel, who knew nothing of opera before his arrival, 'how to compose in the dramatic style.' If this is true, then Johann Mattheson might well be considered the greatest music teacher in history.

With the production of Cleopatra, Mattheson presented Handel with his first conducting break. Mattheson sang the role of Marc Antony in the first half of his own opera, and enlisted Handel to lead the production from the harpsichord. Once Antony left the stage for good, Mattheson was able to conduct the remainder of the opera, again from the harpsichord chair. According to Mattheson, the young upstart would not leave the director's post when requested. Mattheson had no choice but to challenge the ungrateful Handel to a duel. If Handel still had something to learn about composing opera in 1704, then he definitely needed to learn more about dueling. Mattheson recounted that Handel lost shamefully. But for Mattheson, always the teacher, the duel became Handel's lesson in humility; Handel would live to fight another day.

While Mattheson's story told in his later years might be heavily embellished, we leave you with the opera that gave birth to the tale. During that performance, one can just imagine the bouts of envy, desire, and ambition circulating not only onstage but also in the orchestra pit. Let this excerpted performance of Cleopatra be a tribute to Mattheson's forgotten creative skill, his important written legacy, his mentorship, and his mercy! Johann Mattheson was one of Handel's many muses but perhaps he was also the young composer's guardian angel.