[428] Only whereas a modern composer would not have omitted the opportunity of exposing his programme in an organic manner (by presenting turn by turn the two rival themes, then by bringing them into conflict, and finally terminating with the triumph of Israel's theme), Handel contents himself in exposing the two subjects without seeking to establish any further sequence. If he finishes his overture with the theme of Baal, it is because it is a gigue movement, and because the gigue serves well there for concluding; and because Israel's song being an _adagio_ is better placed as the second movement. It is such architectural considerations which guide him rather than dramatic ones. It is the same with nearly all the symphonies of the eighteenth century. In the same manner even Beethoven in his _Eroica_ symphony allows his hero to die and be buried in the second movement, and then celebrates his acts and his triumphs in the third and fourth movements. [429] Amongst the other overtures, which have the character of introduction to the work proper, I will mention the Overture to _Athalie_, which is in perfect accordance with the tragedy;--that of _Acis and Galatea_, which is a Pastoral Symphony evoking the Pagan life of nature;--that of the _Occasional Oratorio_, a warlike overture with two marches, trumpet calls, and a Prayer of distress. There is also the outline of a programme in the Overture to _Judas Maccabæus_, of which the first movement is related to the Funeral Scene which opens the first act, and of which the second movement (Fugue) is connected with one of the warlike choruses of Act I. The Overture of _Riccardo I_ (1727), in two movements, contains a tempest in music painted in a powerful and poetic manner, which opens the first act after the manner of the Tempest in _Iphigénie en Tauride_, and on the last rumblings of which the dialogue between the heroes commences. Finally one finds occasionally in the course of the works some other _Sinfonie_ which have a dramatic character. The most striking is that which opens the third act of the _Choice of Hercules_. It depicts turn by turn the fury of Hercules and the sad force of Destiny which weighs down on his soul. [430] Volume XLVIII of the Complete Works. [431] The work was an immediate success. A first Edition very incorrect and incomplete was published in London about 1720, by Walsh. Arrangements for harpsichord with variations by Geminiani were also published. Both the Water Music and the Firework Music are published in Volume XLVII of the Complete Edition.