[323] There are to be found also some fine trios in a serious yet virile style in the _Passion according to Brockes_ (trio of the believing souls: _O Donnerwort_!) and in the _Chandos Anthems_. [324] See also the quartet in Act I of _Semele_. [325] With the exception of the Italian operas played at Venice, in which (thanks to Fux) the tradition of vocal polyphony is maintained--a tradition to be put to such good use later by Hasse and especially Jommelli. [326] The 5-8 time in _Orlando_; the 9-8 in _Berenice_. [327] The Introduction to _Riccardo I_ represents a vessel wrecked in a tempestuous sea. [328] _Giulio Cesare_: Scene on Parnassus. [329] _Ariodante_, _Alcina_. [330] See _Israel in Egypt_. [331] _Belshazzar_, _Susanna_, _L'Allegro_, _Samson_. [332] _Saul_, _Theodora_, _Athalia_. [333] _Passion according to Brockes_, _Chandos Anthems_, _Funeral Anthem_, _Foundling Anthem_. [334] _Anthems_, _Jubilate_, _Israel in Egypt_. [335] _Israel in Egypt_, _Messiah_, _Belshazzar_, _Chandos Anthems_. [336] _Samson_, _Saul_, _Israel in Egypt_. [337] _L'Allegro_, _Susanna_, _Belshazzar_, _Alexander Balus_. [338] _Solomon_, _L'Allegro_. [339] _Hercules_, _Saul_, _Semele_, _Alexander Balus_, _Solomon_. [340] I have noticed above the Chorus-Dances in _Giulio Cesare_, _Orlando_, _Ariodante_, _Alcina._ There are also veritable choral dances in _Hercules_, _Belshazzar_, _Solomon_, _Saul_ (the Bell scene), _Joshua_ (Sacred dance in Act II over a Ground-Bass). [341] So in _Athalia_, _Alexander's Feast_, _L'Allegro_, _Samson_ (Michel's rôle). [342] _Jubilate_, _Funeral Anthem_. [343] Quoted by M. Bellaigue in _Les Époques de la Musique_, Vol. I, page 109. [344] In the time of Lully and his school, the French were the leaders in musical painting, especially for the storms. Addison made fun of it, and the parodies of the _Théâtre de la Foire_ often amused people by reproducing in caricature the storms of the _Opéra_. [345] Extract from a pamphlet published in London (1751) on _The art of composing music in a completely new manner adapted even to the feeblest intellects_. Already Pope in 1742 compared Handel with Briareus. "Strong in new arms, lo! Giant HANDEL stands, Like bold Briareus with his _hundred hands_." At the time of _Rinaldo_ (1711) Addison accused Handel of delighting in noise. [346] ".... You refuse to submit to rules; you refuse to let your genius be hampered by them.... O thou Goth and Vandal!... You also allow nightingales and canaries on the stage and let them execute their untrained natural operas, in order that you may be considered a composer. A carpenter with his rule and square can go as far in composition as you, O perfect irregularity!" (_Harmony in Revolt: a letter to Frederic Handel esquire, ... by Hurlothrumbo-Johnson_, February, 1734).