understand this it is necessary to examine the disposition and placing of the orchestra of that time. It was not, as with us, centralised under the control of a single conductor. Thus, as Seiffert tells us,[1] in Handel's time it was the principle of decentralisation which ruled. The choruses had their leaders, who listened to the organ, from which they took their cue, and so sustained the voices. The orchestra was divided into three sections, after the Italian method. Firstly, the Concertino, comprising a first and a second violin, and a solo violoncello; secondly, the Concerto Grosso, comprising the instrumental choir; thirdly, the Ripienists strengthening the Grosso.[2]
A picture in the British Museum, representing Handel in the midst of his musicians, depicts the composer seated at the clavier (a cembalo with two keyboards, of which the lid is raised). He is surrounded by the violoncellist (placed at his right-hand side), two violins and two flutes, which are placed just before him, under his eye. The solo singers are also near him, on his left, quite close to the clavecin. The rest of the instrumentalists are
- ↑ Max Seiffert: Die Verzierung der Sologesange in Haendels Messias (Sammelbände der I.M.G., July-September, 1907).
- ↑ Fritz Volbach reckons for the Concerto Grosso, 8 first violins, 8 seconds, 6 violas, 4 to 6 cellos, 4 basses—and for the Ripienists, 6 first violins, 6 seconds, 4 violas, 3 or 4 celli, and 3 basses.
These numbers are much greater than that of Handel's own performances. The programmes of a performance of the Messiah at the Foundling Hospital, May 3, 1759, a little after Handel's death, give only 56 executants, of which 33 were instrumentalists and 23 singers. The orchestra was divided into 12 violins, 3 violas, 3 cellos, 4 oboes, 4 bassoons, 2 trumpets, 2 horns and drums (see Musical Times, May, 1902).
