Abstract
IN HIS Account of the Musical Performances in Westminster Abbey, Charles Burney raves about the voluminous musical forces employed in the concerts commemorating Handel in 1784. Referring to Pope's famous tribute to the composer in The Dunciad, Burney takes stock of the dramatic change in Handelian performance practice that took place in the eighteenth century. As Burney sees it, Pope dates himself by supposing an orchestra and chorus of a mere one hundred more numerous than modern times had ever heard:
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