Complete Edition (second volume) are in a picturesque and descriptive style. The long Concerto in F Major in the same volume has the swing of festival music, very closely allied to the open-air style. Finally, one must notice the beautiful experiment, unfortunately not continued, of the Concerto for two organs,[1] and that, more astonishing still, of a Concerto for Organ terminated by a Chorus,[2] thus opening the way for Beethoven's fine Symphony, and to his successors, Berlioz, Liszt, and Mahler.[3]
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The chamber music of Handel proves to be of the same precocious maturity as his clavier music.
Six Sonatas in Trio for two oboes and harpsichord[4] appear to date from about 1696, when, he was eleven years old, and while he was still at Halle, where he wrote as he said, "like the devil," above all for the oboe, his favourite instrument. They are in four movements: adagio, allegro, adagio, allegro. The slow movements are often very short, and the second between them is sometimes a mere transition. The Sonata for Viola da Gamba, and
- ↑ Vol. XLVIII, page 51.
- ↑ Mr. Streatfeild was, I believe, the first to notice an autograph MS, of the Fourth Organ Concerto to which is attached a Hallelujah Chorus built on a theme from the concerto itself. This MS., which is found at the British Museum, dates from 1735, and appears to have been used for the revival in 1737 of the Trionfo del Tempo to which the Concerto serves for conclusion.
- ↑ Scriabin also.—Translator.
- ↑ Six Sonatas or Trios for two Hoboys with a thorough bass for the Harpsichord. Published in Vol. XXVII.
