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150 manuscript even in Germany. Handel had trained himself In fugue in the school of Kuhnau, and specially with Johann Krieger. Like them he gave his Fugues an essentially melodic character. They are so suited for singing that two of them, as we have said, afterwards served for two choruses in the first part of Israel but Handel's compositions possess a far different vitality from that of his German forerunners. They have a charming intrepidity, a fury, a passion, a fire which belongs only to him. In other words they live. "All the notes talk," says Mattheson. These fugues have the character of happy improvisations, and in truth they were improvised. Handel calls them Voluntaries, that Is fanciful and learned caprices. He made frequent use of double fugues with a masterly development. "Such an art rejoices the hearer and warms the heart towards the composer and towards the executant," says Mattheson again, who, after having heard J. S. Bach, found Handel the greater in the composition of the double fugue and in improvisation. This habit of Handel—one might say almost a craving—for improvising, was the origin of the grand Organ Concertos. After the fashion of his time, Handel conducted his operas and oratorios from the clavier. He accompanied