[397] Dr. Hermann Abert has found the first indication: _crescendo il forte_ in Jommelli's _Artaserse_, performed at Rome in 1749. In the eighteenth century the Abbé Vogler and Schubart already had attributed the invention of the _Crescendo_ to Jommelli. [398] See Lucien Kamiensky: _Mannheim und Italien_ (_Sammelbände der I.M.G._, January-March, 1909). [399] M. Volbach has noticed in the overture to the _Choice of Hercules_, second movement: _piano_, _mezzo forte_, _un poco più forte_, _forte_, _mezzo piano_, all in fourteen bars. In the chorus in _Acis and Galatea_, "Mourn, all ye muses," one reads _forte_, _piano_, _pp._--The introduction of _Zadock the Priest_ shows a colossal _crescendo_; the introductory movement to the final chorus in _Deborah_, a very broad _diminuendo_. [400] H. Riemann: _Zur Herkunft der dynamischen Schwellzeichen_ (I.M.G., February, 1909). [401] Carle Mennicke notices the same sign for _decrescendo_ ((>) on a long note in the Overture to Rameau's _Acanthe et Céphise_ (1751). [402] Geminiani says of the _forte_ and the _piano_: "They are absolutely necessary to give expression to the melody; for all good music being the imitation of a fine discourse, these two ornaments have for their aim the varied inflections of the speaking voice." Telemann writes: "Song is the foundation of music, in every way. What the instruments play ought to be exactly after the principles of expression in singing." And M. Volbach shows that these principles governed music then in Germany with all kinds of musicians, even with the trompettist Altenburg, whose _School for the Trumpet_ was based on the principle that instrumental performance ought to be similar to vocal rendering. [403] Max Seiffert: _Die Verzierung der Sologesänge in Haendels Messias_ (_Sammelbände der I.M.G._, July-September, 1907). [404] Fritz Volbach reckons for the _Concerto Grosso_, 8 first violins, 8 seconds, 6 violas, 4 to 6 cellos, 4 basses--and for the _Ripienists_, 6 first violins, 6 seconds, 4 violas, 3 or 4 celli, and 3 basses. These numbers are much greater than that of Handel's own performances. The programmes of a performance of the _Messiah_ at the Foundling Hospital, May 3, 1759, a little after Handel's death, give only 56 executants, of which 33 were instrumentalists and 23 singers. The orchestra was divided into 12 violins, 3 violas, 3 cellos, 4 oboes, 4 bassoons, 2 trumpets, 2 horns and drums (see _Musical Times_, May, 1902). [405] "_Leichtigkeit der Bewegung und Beweglichkeit des Ausdrucks_," as Volbach tells us (suppleness of time and fluidity of expression); these are the essential qualities which alone will revive the true rendering of Handel's works.