and Orlando, where the humorous and tragic are intermingled in the manner of Don Giovanni. He has experimented very happily here in new rhythms.[1] There were new forms, the dramatic duet or quartet, the descriptive symphony opening the opera,[2] refined orchestration,[3] choruses and dances.[4] Nothing seems to have obsessed him. In the following opera we find him returning to the ordinary forms of the Italian or German opera of his time.
| · | · | · | · | · |
Still less can we say that he held to a rigid form with his operas, which were continually adapted to the changing tastes of the theatre public of his age, and of the singers which he had at his disposal, but when he left the opera for the oratorio he varied no less. It was a perpetual experiment of new forms in the vast framework of the free theatre (theatre en liberté) of the concert drama; and the sort of instinctive ebb and flow in creation seems to have caused his works to succeed one another in groups of analogous or related compositions, each work in a nearly opposite style of feeling and form. In each one Handel indulged momentarily in a certain side of his feelings, and when that was finished he found himself in the possession of other feelings which had been accumulating whilst he was drawing on his first. He thus kept up a perpetual
