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the violoncello."^[1] From the viola he knew how to secure many curious effects of indefinite and disquieting half-tones,^[2] he gave to the bassoons a lugubrious and fantastic character,^[3] he experimented with new instruments, small^[4] and great,^[5] he used the drum (tambour) solo in a dramatic fashion for Jupiter's oath in Semele. For special situations, by instrumental tone-colours, he secures effects not only of dramatic expression, but also of exotism and local colour. It is so in the two scenes from the two Cleopatras, Giulio Cesare (1724) and Alexander Balus (1748).^[6]

↑ 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.
↑ 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.
↑ In Saul, the scene of the Sorcerer, apparition of the spirit of Samuel.
↑ The violette marine (little violas very soft) in Orlando (1733).
↑ 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."
↑ 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.

[1] 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.

[2] 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.

[3] In Saul, the scene of the Sorcerer, apparition of the spirit of Samuel.

[4] The violette marine (little violas very soft) in Orlando (1733).

[5] 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."

[6] 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.

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