I do not suppose that Handel was the first to use the clarionets in an orchestra, as this appears very doubtful. One sees on a copy of _Tamerlano_ by Schmidt: _clar. e clarini_ (in place of the _cornetti_ in the autograph manuscript). But it is feasible that just as with the "_clarinettes_" used by Rameau in the _Acanthe et Céphise_, the high trumpets are intended. Mr. Streatfeild mentions also a concerto for two "clarinets" and _corno di caccia_, the MS. being in the Fitzwilliam Museum at Cambridge. [386] _Alcina_, _Semele_, _L'Allegro_, _Alexander's Feast_, the little _Ode to St. Cecilia_, etc. Usually Handel imparts to the cello either an amorous desire or an elegiac consolation. [387] Thus, in the famous scene which opens the second Act of _Alexander's Feast_ (second part of the air in G minor), evoking the host of the dead who have wandered at night from their graves, there are no violins, no brass; just 3 bassoons, 2 violas, cello, bassi and organ. [388] In Saul, the scene of the Sorcerer, apparition of the spirit of Samuel. [389] The _violette marine_ (little violas very soft) in _Orlando_ (1733). [390] The monster instruments used for the colossal performances at Westminster. The double bassoon by Stainsby made in 1727 for the coronation celebrations. Handel borrowed from the Captain of Artillery some huge drums preserved at the Tower of London, for _Saul_ and for the _Dettingen Te Deum_. Moreover, like Berlioz, he was not afraid of using firearms in the orchestra. Mrs. Elizabeth Carter wrote: "Handel has literally introduced firearms into _Judas Maccabæus_; and they have a good effect" (_Carter Correspondence_, p. 134), and Sheridan, in a humorous sketch (Jupiter) represents an author who directs a pistol-shot to be fired behind the scenes, as saying, "See, I borrowed this from Handel." [391] For the scene of Cleopatra's apparition on the Parnassus, at the opening of Act II of _Giulio Cesare_, Handel has two orchestras, one on the stage; Oboe, 2 Violins, Viola, Harp, Viola da gamba, Theorbo, Bassoons, Cellos; the other, in front. The first air of Cleopatra in _Alexander Balus_ is accompanied by 2 Flutes, 2 Violins, Viola, 2 Cellos, Harp, Mandoline, Basses, Bassoon and Organ. [392] Fritz Volbach: _Die Praxis der Hændel-Aufführung_, 1899. [393] In addition to two parts for Flutes, two for Oboes, two for Bassoons, Violas, Cellos and Basses, Cembalo, Theorbo, Harp and Organ; in all, fifteen orchestral parts to accompany a single voice of _Esther_. [394] For the Angel's Song. [395] In _Saul_, "_viola II per duoi violoncelli ripieni_." (See Volbach, _ibid._) [396] Study from this point of view the progress from the very simple instrumentation of _Alexander's Feast_, where at first two Oboes are used with the strings, then appear successively two Bassoons (air No. 6), two Horns (air No. 9), two Trumpets and Drums (Part II), and, for conclusion, with the heavenly apparition of St. Cecilia, two Flutes.