[368] Sometimes the name is found marked there. See the Eighth Concerto in Vol. XXVIII and the Concerto in F major in Vol. XLVIII. [369] Vol. XLVIII, page 51. [370] 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. [371] Scriabin also.--_Translator._ [372] _Six Sonatas or Trios for two Hoboys with a thorough bass for the Harpsichord._ Published in Vol. XXVII. [373] Volume XLVIII, page 112. [374] Volume XLVIII, page 130. [375] Volume XXVII. [376] _VII Sonatas à 2 violons, 2 hautbois, ou 2 flûtes traversières et basse continue, composées par G. F. Handel, Second ouvrage._ [377] Later on, Walsh made arrangements of favourite airs from Handel's Operas and Oratorios as "Sonatas" for flute, violin and harpsichord. Six Vols. [378] In eleven sonatas out of sixteen. One sonata (the third) is in three movements. Three are in five movements (the first, the fifth and the seventh). One is in seven movements (the ninth). [379] In the first Sonata, the final _Presto_ in common time uses the theme of the _Andante_ in 3-4, which forms the second movement. In the second Sonata, the final _Presto_ in common time is built on the subject of the _Andante_ in 3-4, slightly modified. [380] The fifth Sonata is in five movements--_larghetto_, _allegro_ (3-8), _adagio_, _allegro_ (4-4), _allegro_ (12-8). [381] From five to seven movements. [382] A Gavotte concludes the first, second, and third trios. A Minuet ends the fourth, sixth, and seventh. A Bourrée finishes the fifth. There are also found two Musettes and a March in the second Trio, a Sarabande, an Allemande and a Rondo in the third; a Passacaille and a Gigue in the fourth. [383] It was the æsthetic of the period. Thus M. Mennicke writes: "Neutrality of orchestral colour characterises the time of Bach and Handel. The instrumentation corresponds to the registration of an Organ." The Symphonic orchestra is essentially built up on the strings. The wind instruments serve principally as _ripieno_. When they used the wood-wind _obbligato_, it went on throughout the movement and did not merely add a touch of colour here and there. [384] One finds in the middle of the _Trionfo del Tempo_ an instrumental Sonata for 2 Oboes, 2 Violins, Viola, Cello, Basso, and Organ. In the Solo of the Magdalene in the _Resurrection_, Handel uses two flutes, two violins (muted), _viola da gamba_ and cello; the cello is occupied with a pedal-note of thirty-nine bars at the opening, and then joins the clavecin. In the middle of the air, the _viola da gamba_ and the flutes play by themselves. [385] In _Radamisto_ (1720) Tiridate's air: _Alzo al colo_, and final chorus. In _Giulio Cesare_, 4 horns.