The second and third volumes have a much greater value, containing trios or sonatas in two parts (for two violins, or two oboes, or two _flauti-traversi_) with Bass (harpsichord or violoncello). All the sonatas in the second volume, with only one exception,[380] have four movements, two slow and two fast alternatively, as in the Opus 1. Sometimes they are inspired by the airs of the operas, or of the oratorios; at other times they have furnished a brief sketch for them. The elegiac _Largo_ which opens the First Sonata is found again in _Alessandro_, the _allegro_ which finishes the Third Sonata forms one of the movements in the overture of _Athaliah_, the larghetto of the Fourth serves for the second movement of the _Esther_ overture. Other pieces have been transferred to the clavier or other instrumental works, where they are joined to other movements. The finest of these Trios are the First and the Ninth, both of enchanting poetry. In the second movement of the Ninth Trio, Handel has utilised very happily a popular English theme. The Seven Trios from the third volume afford a much greater variety in the style and in the number[381] of the pieces. Dances occupy a great part.[382] They are indeed veritable Suites. They were composed in the years when Handel was attracted by the form of ballet-opera. The Musette and the _Allegro_ of the Second Sonata come from _Ariodante_. Some of the other slow and pompous movements are borrowed from his oratorios. The two _Allegri_ which open the Fourth Sonata are taken from the Overture of _Athaliah_. On the other hand, Handel inserts in the final movement of _Belshazzar_ the beautiful _Andante_ which opens his First Sonata. Whoever wishes to judge these works historically or from the intellectual point of view, will find, like Chrysander, that Handel has not invented here any new forms, and, as he advanced, he returned to the form of the Suite, which already belonged to the past, instead of continuing on his way towards the future Sonata. But those who will judge them artistically, for their own personal charm, will find in them some of the purest creations of Handel, and those which best retain their freshness. Their beautiful Italian lines, their delicate expression, their aristocratic simplicity, are refreshing alike to the mind and to the heart. Our own epoch, tired of the post-Beethoven and post-Wagnerian art, can find here, as in the chamber music of Mozart, a safe haven, where it can escape the sterile agitation of the present and find again quiet peace and sanity. * * * * * The orchestral music of Handel comprises twelve _Concerti Grossi_ (1740), the six Oboe Concertos (1734), the Symphonies from his operas, oratorios, and his open-air music--Water-Music (1715 or 1717), Firework Music (1749),--and _Concerti_ for two horns.