Andante movement for strings only; the other instruments resume in the final Allegro Moderato. A solo, "Wake, my harp," which was sung by Mrs. Cornelys, is accompanied by strings, violins pizzicato, harp and harpsichord in a very effective manner. In an air, "Haste to the gardens of delight," sung by Mr. Tenducci, two flutes are added to the orchestration; and in another air, "With heroes and sages," also sung by Tenducci, we find the bassoons have parts independent of the basses, a somewhat novel departure at the period when Arne wrote. An air, "No more the Heathen shall blaspheme," sung by Mr. Fawcett, has the novel accompaniment of two violoncellos and bass; no other instruments until the last four bars of symphony, when the violins are introduced. Fortunately the composer's autograph score exists in the British Museum, and in that we find much of interest. It exemplifies in some degree the well-known haste and carelessness of the composer; there are sundry memoranda, such as "take care of the Instrumental parts where I have mistaken the lines," "Bassoons in semibriefs," &c. The choruses are in this case his own; there was no borrowing from Handel. The first, "Father of mercies," is short--only thirty-seven bars. The next, "When Israel wept," is also short and good. "Hear, angels, hear" extends to one hundred and twenty-six bars; "Hail, immortal Bacchus," eighty-five bars; "Prepare the genial bower," eighty-seven bars; and the next, a very fine chorus, "Who can Jehovah's wrath abide," one hundred and eight bars; "Breathe the pipe," sixty-two bars; and the last chorus, "Here, sons of Jacob," written in five vocal parts for soprano, alto, tenor and bass, sixty-four bars. Dr. Arne was remarkable for his deficient memory respecting things trifling in themselves, yet sometimes of considerable consequence as connected with other matters. If he made an appointment to meet a friend, whether for the purpose of business or amusement, he would probably mistake the day; if he wrote an order for the theatre, it was equally probable that the play would be misnamed, or that the frank would bear a wrong date. On one occasion, when he had prepared an elaborate Ode, he had it rehearsed, and announced the day for its public performance. The great room at the Crown and Anchor[17] was crowded with company impatiently waiting for their expected gratification. Arne arrived at the tavern-door in a fiacre, leaped out with the score under his arm, and left the parts behind him. When the doctor discovered his neglect, he was in the condition of a madman. Persons were dispatched in all directions in search of the coach, but it could not be found; and the band and company were subjected to the mortification of being dismissed--the first without performing, and the latter without hearing, a note of the prepared Ode. Could this have been the Ode which, it is said, he composed as an exercise for his degree? Arne, by his connection