The second and third volumes have a much greater value, containing trios or sonatas in two parts (for two violins, or two oboes, or two flauti-traversi) with Bass (harpsichord or violoncello). All the sonatas in the second volume, with only one exception,[1] have four movements, two slow and two fast alternatively, as in the Opus I. Sometimes they are inspired by the airs of the operas, or of the oratorios; at other times they have furnished a brief sketch for them. The elegiac Largo which opens the First Sonata is found again in Alessandro, the allegro which finishes the Third Sonata forms one of the movements in the overture of Athaliah, the larghetto of the Fourth serves for the second movement of the Esther overture. Other pieces have been transferred to the clavier or other instrumental works, where they are joined to other movements. The finest of these Trios are the First and the Ninth, both of enchanting poetry. In the second movement of the Ninth Trio, Handel has utilised very happily a popular English theme.
The Seven Trios from the third volume afford a much greater variety in the style and in the number[2] of the pieces. Dances occupy a great part.[3] They are indeed veritable Suites. They were composed in the years when Handel was attracted by the
- ↑ The fifth Sonata is in five movements—larghetto, allegro (3-8), adagio, allegro (4-4), allegro (12-8).
- ↑ From, five to seven movements.
- ↑ 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.
