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190 sonorous. The shorter movements comprise a Bourrée, a Largo a la Siciliana, entitled Peace, of a beautiful heroic grace, which lulls itself to sleep; a very sprightly Allegro entitled The Rejoicing, and two Minuets for conclusion. It is an interesting work for the organisers of our popular fêtes and open-air spectacles to study. If we have said that after 1740 Handel wrote hardly any other instrumental music than the Firework Music, and the twothree [sic] monumental concertos, a due cori (for two hornschoirs [sic]) we have the feeling that the last evolution of his thought and instrumental style led him in the direction of music conceived for great masses, wide spaces, and huge audiences. He had always in him a popular vein of thought. I immediately call to mind the many popular inspirations with which his memory was stored, and which vivify the pages of his oratorios. His art, which renewed itself perpetually at this rustic source, had in his time an astonishing popularity. Certain airs from Ottone, Scipione, Arianna, Berenice, and such other of his operas, were circulated and vulgarised not only in England, but abroad, and