Volume XLVII of the Complete Edition.

[432] One may add to these monumental pieces the _Sinfonie diverse_ (pp. 140-143 of Vol. XLVIII) and the Concerto in F major in the form of an Overture and Suite (pp. 68-100, _ibid._), but particularly the _3 Concerti für grosses Orchester_ and the _2 Concerti a due cori_ of Vol. XLVII. The _Concerti für grosses Orchester_ have been, so to speak, the sketch books for the Water Music and for the Firework Music. The first Concerto dates from about 1715, and furnished two movements for the Water Music. It is written for two horns, two oboes, bassoon, two violins, violas and bass. The second Concerto in F major (for four horns, two oboes, bassoons, two violins, violas, cellos, basses and organ); and the third Concerto in D major (for two trumpets, four horns, drums, two oboes, bassoons, two violins, violas, cellos, organ) contains already nearly all the Firework Music with a less important orchestra, but with the Organ in addition.

The two Concertos for two horns (_Concerti a due cori_) were made from the important choruses of the Oratorios transcribed for double orchestra--ten orchestral parts for the first group, twelve for the second (four horns, eight oboes, bassoons, etc.). Thus the appearance of God in _Esther_: "Jehovah crowned in glory bright," and the connected chorus: "He comes to end our woes." There are there colossal dialogues between the two orchestras.

[433] The autograph MS., published in XLVII of the Complete Edition, contains: 2 parts for trumpets with 3 trumpets to a part (_i.e._ 6 trumpets); 3 _Prinzipali_ (low trumpets); 3 drums; 3 parts for horns with 3 to a part (_i.e._ 9 Horns); 3 parts for oboes with 12 for the first part, 8 for the second and 4 for the third (_i.e._ 24 oboes); 2 parts for bassoons with 8 for the first and 4 for the second (_i.e._ 12 bassoons). Total, 70 wind instruments. There were about 100 players for the performance on April 27, 1749.

Later on, Handel reproduced the work for concert use by adding the string orchestra to it.

[434] Written for 9 horns in three sections, 24 oboes in two sections, and 12 bassoons.

[435] It would not be difficult to add other analogous works by Handel and Beethoven. There exists a fine repertoire of popular classical music for open-air _fêtes_. But, nevertheless, it is completely disregarded.

[436] The Gavotte theme from the Overture to _Ottone_ was played all over England and on all kinds of instruments, "even on the pan's-pipes of the perambulating jugglers." It was found even at the end of the eighteenth century as a French vaudeville air. (see the _Anthologie françoise ou Chansons choisies_, published by Monnet, in 1765, Vol. I, p. 286). The March from _Scipio_, as also that from _Rinaldo_, served during half a century for the Parade of the Life Guards. The minuets and overtures from _Arianna_ and Berenice had a long popularity. One sees in the English novels of the time (especially in Fielding's _Tom Jones_) to what an extent Handel's music had permeated English country life, even from the small country squires to the county magnates, so absolutely cut off as they were from _all_ artistic influences.

[437] Paul Marie Masson has noticed that about the date of 1716, in a volume of _Recueil d'airs serieux et à boire_. (Bibl. Nat. Vm. 549), an _Aria del Signor Inden_ (sic), "_air ajouté au ballet de l'Europe Galante_." The _Meslanges de musique latine, françoise et italienne_ of Ballard (in 1728), contains amongst the Italian airs _Arie de Signor Endel_ (p. 61). All the airs of the _Chasse du cerf_ by Sere de Rieux (1734) are Handel airs adapted to French words. An article by Michel Brenet, _La librairie musicale en France de 1653 à 1790, d'après les registres de priviléges_ (_Sammelbände I.M.G._, 1907) gives a series of French Editions of Handel from 1736, 1739, 1749, 1751, 1765. In 1736 and in 1743 in _Concerts Spirituels_ some of his airs and his _Concerti Grossi_ were given (Brenet: _Les Concerts en France sous l'ancien régime_, 1900). A number of his airs were arranged for the flute by Blavet in his three _Receuils de pièces, petits airs, brunettes, minuets, etc., accommodés pour les flutes traversières, violins, etc._, which appeared between 1740 and 1750. Handel was so well known in Paris that they sold his portrait there in 1739. (See a tradesman's advertisement in the _Mercure de France_, June, 1739, Vol. II, page 1384.)