▁line age . ▁Whether ▁in ▁Germany ▁or ▁England , ▁he ▁was ▁clearly ▁a ▁master ▁at ▁the ▁French ▁notes ▁in ég ales ▁as ▁well ▁as ▁the ▁O u vert ure ▁style . ▁He ▁was ▁strongly ▁influenced ▁by ▁Georg ▁M uff at ' s ▁nep hew , ▁who ▁will ▁be ▁discussed ▁below , ▁and ▁perhaps ▁that ▁is ▁a ▁part ▁of ▁Hand el ' s ▁reception ▁of ▁the ▁French ▁Style ▁of ▁playing . ▁And ▁occasionally ▁one ▁finds ▁movements ▁that ▁don ' t ▁seem ▁necessarily ▁" F rench ", ▁as ▁over ▁the ▁years , ▁Hand el ▁did ▁develop ▁a ▁very ▁strong ▁" English " ▁style ▁that ▁was ▁unique ▁to ▁him , ▁but ▁non eth eless , ▁sound ▁very ▁much ▁more ▁" re ve aled " ▁when ▁subject ed ▁to ▁notes ▁in ég ales ▁a ka ▁inequality ▁procedure . ▁ ▁Georg ▁M uff at ▁The ▁entire ▁cor pus ▁of ▁sty list ic ▁practices ▁related ▁to ▁the ▁L ull ist ▁model , ▁of ▁which ▁notes ▁in ég ales ▁was ▁one ▁of ▁the ▁most ▁significant ▁features ▁of ▁rh yth mic ▁alter ation , ▁was ▁perhaps ▁widely ▁spread ▁throughout ▁late ▁ 1 7 th ▁and ▁early ▁ 1 8 th - century ▁Germany ▁and ▁Austria ▁by ▁the ▁Aust rian ▁composer ▁Georg ▁M uff at . ▁He ▁went ▁to ▁the ▁L ull ist ▁court ▁to ▁study ▁and ▁cod ify ▁the ▁L ull ist ▁performance ▁practices ▁and ▁did ▁it ▁in ▁an ▁exhaust ive ▁for ew ord ▁to ▁his ▁Flor ile g ium ▁Sec und um , ▁a ▁collection ▁containing ▁orch est ral ▁su