The scored strength of the strings was chosen in accordance with the acoustic conditions of the performance location (the hall of the Waldorf School in Bremen). In addition there was a continuo group such as one would more or less expect in the Handel operas: two harpsichords flanking the orchestra right and left, an organ and a theorbo. These instruments were used collectively or individually acccording to the dramatic situation and the particular emotions required: The ist overture with all plucking instruments (2 harpsichords, theorbo), with the theorbo alone accompanying the violin solos and the concluding minuet. 2nd recitative with organ, as from "The Lovely Thais..." including the theorbo in order tonally to underline the new situation. 3. Aria e Coro with organ and harpsichord. 4. Recitative only with lute (Timotheus, the singing poet who accompanies himself "with flying fingers touch’d the lyre”.) 5. Accompagnato with organ. 6. Chorus: tutti with organ and harpsichord, the high ranging string passages with theorbo. Spatial tone is striven for here: call and echo in the vaults, frequent fading tones. 7. Aria: all plucking instruments (2 harpsichords, theorbo), the echo~type solos only with theorbo. 8. Recitative theorbo (as 4.), at ”sound the trumpets” including harpsichord. 9. Aria e Coro: first only with organ, later theorbo and left harpsichord joining in. 10. Recitative with harpsichord on account of the violent emotion. 11. Accompagnato: here Handel writes ”senza Cembalo”, and thus the theorbo was used. 12. Aria and 13. Accompagnato with organ, in the chorus 14. a harpsichord is also featured. 15. Recitative: theorbo (as 4.). 16. Arioso: with organ and theorbo, a popular combination for soft, insinuating emotions. 17. aria: on account of the warlike emotions with two harpsichords, as at chorus 18., here also alternating with the dynamics of the choir. 19, Aria: theorbo because of the gentle mood. Accompagnato e Coro: two harpsichords, occasionally also alternating. 21. Aria with organ, in the largo part incoporating the theorbo. 22. Accompagnato and 23. Aria: two harpsichords. 24. Aria e Coro with organ and theorbo, with chorus entry harpsichord instead of theorbo. 25. Accompagnato e Coro: theorbo with the instruments, organ with the singer, with the chorus only organ. 26. Recitative: theorbo with the tenor, organ with the bass, continuing thus in the concluding chorus, with soprano entry also the harpsichord, then organ, harpsichord and lute collectively and alternatingly, according to the dynamics and number of the parts. Aria No. 27, which in the premiere performance was sung by a second soprano, was sung here by the tenor because of the emotion involved. Except for trumpets and kettledrums, which played only at the spots prescribed in the score, all the instruments were applied in the tutti and in such pieces whose character appeared to require this. This practice corresponds to the custom of the time, not every instrument performing in the unisono was specified. For instance no oboes are playing in the minuet at the end of the overture, but certainly the transverse flute with the strings, as well as in the Aria and Chorus 24, and so on.