This historic book may have numerous typos, missing text, images, or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1883. Not illustrated. Excerpt: . CHAPTER XXXVIIL INSTRUMENTAL MUSIC. We have hitherto said but little on the subject of Handel's Instrumental Compositions; not because they are either few in number, or unimportant as indications of the peculiar tendency of the Composer's genius; but DEGREES because they are so numerous, and throw so clear a light upon the taste and character of their author, and upon the style of his performances upon the Organ and Harpsichord, that, to study them with profit, we must analyse them as individual creations, apart from the great Choral works which have hitherto occupied so much of our attention. Intimate as is the correlation existing between the two phases of creative power manifested in these two distinct provinces of the great realm of Art, each Art-form, if we would understand its full bearing upon its fellow, must first be studied separately.

We have seen how Handel threw himself into the inmost heart of the Opera, and the Oratorio. We have, next, to show how he expressed the thoughts of his own heart, through the medium of the Organ, the Harpsichord, and the full Orchestra. In a future chapter, we shall hope to show the reaction of his Instrumental Music, upon that which he wrote for the Voice. The pieces in question comprise between seventy and eighty Overtures, and Orchestral Preludes of various kinds, to the Operas, Oratorios, and other great sacred and secular works already described: a large collection of Orchestral Concertos: an equally important series of Concertos for the Organ, or Harpsichord: the 'Water Musick: ' the Music for the Royal Fireworks: a volume of Sonatas: two sets of Trios: three sets of Lessons for the Harpsichord: a set of Fugues: and innumerable snorter Compositions. It would manifestly be impossible to notice all these pieces.