[389] The violette marine (little violas very soft) in Orlando (1733).
[390] The monster instruments used for the colossal performances at Westminster. The double bassoon by Stainsby made in 1727 for the coronation celebrations. Handel borrowed from the Captain of Artillery some huge drums preserved at the Tower of London, for Saul and for the Dettingen Te Deum. Moreover, like Berlioz, he was not afraid of using firearms in the orchestra. Mrs. Elizabeth Carter wrote: “Handel has literally introduced firearms into Judas Maccabæus; and they have a good effect” (Carter Correspondence, p. 134), and Sheridan, in a humorous sketch (Jupiter) represents an author who directs a pistol-shot to be fired behind the scenes, as saying, “See, I borrowed this from Handel.”
[391] For the scene of Cleopatra’s apparition on the Parnassus, at the opening of Act II of Giulio Cesare, Handel has two orchestras, one on the stage; Oboe, 2 Violins, Viola, Harp, Viola da gamba, Theorbo, Bassoons, Cellos; the other, in front. The first air of Cleopatra in Alexander Balus is accompanied by 2 Flutes, 2 Violins, Viola, 2 Cellos, Harp, Mandoline, Basses, Bassoon and Organ.
[392] Fritz Volbach: Die Praxis der Hændel-Aufführung, 1899.
[393] In addition to two parts for Flutes, two for Oboes, two for Bassoons, Violas, Cellos and Basses, Cembalo, Theorbo, Harp and Organ; in all, fifteen orchestral parts to accompany a single voice of Esther.
[394] For the Angel’s Song.
[395] In Saul, “viola II per duoi violoncelli ripieni.” (See Volbach, ibid.)
[396] Study from this point of view the progress from the very simple instrumentation of Alexander’s Feast, where at first two Oboes are used with the strings, then appear successively two Bassoons (air No. 6), two Horns (air No. 9), two Trumpets and Drums (Part II), and, for conclusion, with the heavenly apparition of St. Cecilia, two Flutes.
[397] Dr. Hermann Abert has found the first indication: crescendo il forte in Jommelli’s Artaserse, performed at Rome in 1749. In the eighteenth century the Abbé Vogler and Schubart already had attributed the invention of the Crescendo to Jommelli.
[398] See Lucien Kamiensky: Mannheim und Italien (Sammelbände der I.M.G., January-March, 1909).