Time, written in Rome. In Radamisto Handel made the attempt at a dramatic quartet, but rather clumsily, and with repeated Da Capo.[1] The most moving quartet is found in the second act of Jephtha. It is in Jephtha also, Act III, where the only quintet which he wrote is to be found.
The choruses in the Italian opera of the eighteenth century[2] were reduced to a rudimentary stage, and they consist merely of the union of the voices of soloists at the end of a piece, with certain banal and brilliant acclamations during the course of the action. Notwithstanding this, Handel wrote some stronger ones in Alcina; those of Giulio Cesare, Ariodante, and Atalanta, were also exceptional in the operas of his time. So with the final choruses Handel arranged after a fashion to escape from the current banality: that of Tamerlano is written in a melancholy dramatic vein; that of Orlando strives to preserve the individual character of their personality; that of Giulio Cesare is tacked on to a duet. There are also choruses of people; the Matelots in Giustino; that of the hunters in Deidamia, where the choruses take up the refrain from the air announced by the solo voice. It is the same in Alessandro, where the soldiers' chorus repeats Alessandro's hymn, slightly curtailed.
Finally, Handel frequently attempted to build up great musical architecture, raising it by success-
