becomes a tempest of harmony, interwoven with the triumph of Miriam's cry
and the exultation of the great host over the enemy's discomfiture, and
closing with the combined power of voices and instruments in harmonious
accord as they once more repeat Miriam's words, "The Horse and his Rider
hath He thrown into the Sea."

[3] The second chorus, "The Plague of the Water turned to Blood," and the
loathing of the Egyptians.

Saul.

The oratorio of "Saul" was written by Handel in 1738. He began it, says
Schoelcher, on the 3d of July, and finished it on the 27th of September;
thus occupying eighty-six days. This, however, is evidently an error, as
Rockstro says: "The score, written in a thick quarto volume, on paper
quite different from that used for the operas, is dated at the beginning
of the first chorus, July 23, 1738." The next date is August 28, at the
end of the second part, and the last, at the end of the work, September
27,--which would give two months and four days as the time in which it
was written. But even this period, short as it is, seems brief when
compared with that devoted to the composition of "Israel in Egypt," which
Handel began four days after "Saul" was completed, and finished in
twenty-seven days.

It has already been said, in the analysis of the last named-work, that in
January, 1739, Handel took the King's Theatre in the Haymarket, his
purpose being to give oratorios twice a week. "Saul" was the first of the
series; and in this connection the following advertisement, which
Schoelcher reprints from the London "Daily Post" of Jan. 3, 1739, will be
of interest:--

"We hear that on Tuesday se'en night the King's Theatre will be opened
with a new oratorio composed by Mr. Handel, called 'Saul.' The pit and
boxes will be put together, the tickets delivered on Monday the 15th
and Tuesday 16th (the day of performance), at half a guinea each.
Gallery 5_s._ The gallery will be opened at 4; the pit and boxes at 5.
To begin at 6."

The first performance took place as announced, and the second on the 23d,
"with several new concertos on the organ,"--which instrument also plays a
conspicuous part in the oratorio itself, not only in amplifying the
accompaniment, but also in solo work. In 1740 it was performed by the
Academy of Ancient Music in London, and in 1742 in Dublin. Selections
were also given from it in the great Handel Commemoration at Westminst