1796.) 
of the fcale, by the trebles and altos in 
the third line, is happily expreffed. The 
configning of the laft to the tenors and 
bafs, is mafterly ; expretling at once the 
fenfe of the term diapafon by the 
octaves. 
Had Dr. Johnfon been more of a mu- 
fician, he might here have gathered a 
. definition of the word, and not infulted 
the underitanding of his enquirers by 
faying, that ‘ Diapafon was a term in 
M1iLfile : 
Song. “ What faffioncannet mufic raife and quell.’ 
g q 
The fymphony to this fong is not to be 
equalled for excellent compofition. It 
is principale fcr the violoncello, and 
when played by a Crofdil or a Linley, 
a morg enchanting morceau cannot be 
found. JI muft exprefs my paifionate 
fondnefs for the chord of the feventh, 
which is fo elegantly introduced upon the 
paufe. 
The fucceeding paflage, gives utter- 
ance to the fweeteft tones by far upon 
the violoncello. The brilliant violins fo 
complete the fubjeét, that I could have 
been fatisfied had it ended here; as I 
am of an opinion Handel made this fong 
more to fhew the powers of the per- 
former than that of the finger. 
Song. ‘ The trumpet's loud clangor excites us to 
“Say ms."” 
The fubjeét of this fong and chorus is 
well calculated to fhew the clang and fire 
ef the trumpet, and is a martial infpir- 
ing air. In this chorus, I obferve one 
of thofe inaccuracies which Handel has 
{ometimes fallen into; namely, the wrong 
accenting of the poetry, probably from 
his not, at that time, having a thorough 
knowledge of our language. 
8¢ The double double beat of THE thund’ ring 
drum.’ 
Here the little infignificant article 
(the) by coming upon the bar, is made 
the moft emphatic word in the line, 
whereas the firft fyllable of shuv-d’ring 
ought to have had that place ; and, as it 
now ftands, a perfon with a good ear 
‘finds a difficulty of finging it. On the 
whole, this is a moft pleafing and ani- 
mating chorus. 
Song. § The foft complaining fiute.”’ 
This is a plaintive air, well adapted to 
fhew the excellency of-the flute—that 
is, its peculiar delicacy of tone. It 
Would be much better, if this inftrument 
was more confined to this {pecies of 
mufic, as its powersare fo feeble, that it is 
~ Mentury Mac. No. IV. 
Ranaihs on Handel’s Compofition. 
‘and evennefs of voice. 
297 
impoffible it can have any great effect in 
orcheftra, rapid, or chromatic mufic. 
The flute folos are accompanied by the 
lute; that inftrument being now laid 
afide, the part is generally played by the 
violoncello; but this, in my opinion, 
deftroys the effeét. 
Song— Sharp violins.” 
There is nothing peculiarly ftriking in 
this fone. It may be remarked, that 
the author has very properly fixed upon 
the fharpeft key upon the violin (A)+ 
which forms a fine tranfition to the fuc- 
ceeding air in the mellow key of F : 
“¢ But, oh, what art can teach, 
«¢ What human voice can reach, 
“ The facred organ’s praife ?” 
This largetto movement admirably dif- 
plays the rich and melifluous tones of the 
diapafons, in a fine feries of harmony, ac- 
companied, mezzo piano, by the ftringed 
inftruments. The folemn organ being 
heard, at regular intervals, throughout. 
Song—** Orpheus could lead the favage race.” 
The fymphony of this fong is a kind 
of hornpipe in the minor key of (D); 
I fuppote, intended to exprefs the moving 
powers of this deity upon his favage 
audience. But I much doubt, whether 
many of his brutes could find fufficient 
agility to keep in time, the movement 
being rather too quick for his elephants 
or buffalos. | 
The vocal air is of a more fedate caft, 
with fome eafy though rapid divifions, 
ultimately ending in the key of F major, 
well calculated to. fhew volubility and 
neat execution in the finger. 
This ode, like a finithed work, ends 
with a grand chorus, that forms a climax 
to the whcele. 
“ As from the power of facred lays, 
‘The fpheres began to move.”’ 
A charming folo for a Madame Mara, 
“ Senza orcbeftra’”’ requiring great ftrength 
After which, an 
ingenious idea is given of the motion of 
the various orbs (in the fecond line) by 
the infrumental part, decorating the full . 
chorus: 
“¢ Se, when the laft and dreadful hour, 
“¢ This crumbling pageant fhall devour.’ 
The refolution of the chord upon the 
word dreadful, in the chorus following, 
is literally dreadfu!; and fhews how ae 
cord, when {cientifically difpofed, is ca 
pable of raifing the padiions. 
« The trurhpet fhall be heard on high.”? 
Qgq This 
