[380] The fifth Sonata is in five movements—larghetto, allegro (3-8), adagio, allegro (4-4), allegro (12-8).
[381] From five to seven movements.
[382] A Gavotte concludes the first, second, and third trios. A Minuet ends the fourth, sixth, and seventh. A Bourrée finishes the fifth. There are also found two Musettes and a March in the second Trio, a Sarabande, an Allemande and a Rondo in the third; a Passacaille and a Gigue in the fourth.
[383] It was the æsthetic of the period. Thus M. Mennicke writes: “Neutrality of orchestral colour characterises the time of Bach and Handel. The instrumentation corresponds to the registration of an Organ.” The Symphonic orchestra is essentially built up on the strings. The wind instruments serve principally as ripieno. When they used the wood-wind obbligato, it went on throughout the movement and did not merely add a touch of colour here and there.
[384] One finds in the middle of the Trionfo del Tempo an instrumental Sonata for 2 Oboes, 2 Violins, Viola, Cello, Basso, and Organ. In the Solo of the Magdalene in the Resurrection, Handel uses two flutes, two violins (muted), viola da gamba and cello; the cello is occupied with a pedal-note of thirty-nine bars at the opening, and then joins the clavecin. In the middle of the air, the viola da gamba and the flutes play by themselves.
[385] In Radamisto (1720) Tiridate’s air: Alzo al colo, and final chorus. In Giulio Cesare, 4 horns.
I do not suppose that Handel was the first to use the clarionets in an orchestra, as this appears very doubtful. One sees on a copy of Tamerlano by Schmidt: clar. e clarini (in place of the cornetti in the autograph manuscript). But it is feasible that just as with the “clarinettes” used by Rameau in the Acanthe et Céphise, the high trumpets are intended. Mr. Streatfeild mentions also a concerto for two “clarinets” and corno di caccia, the MS. being in the Fitzwilliam Museum at Cambridge.
[386] Alcina, Semele, L’Allegro, Alexander’s Feast, the little Ode to St. Cecilia, etc. Usually Handel imparts to the cello either an amorous desire or an elegiac consolation.
[387] Thus, in the famous scene which opens the second Act of Alexander’s Feast (second part of the air in G minor), evoking the host of the dead who have wandered at night from their graves, there are no violins, no brass; just 3 bassoons, 2 violas, cello, bassi and organ.
[388] In Saul, the scene of the Sorcerer, apparition of the spirit of Samuel.