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In the summer months of 1748 Handel composed the two oratorios Solomon and Susanna for the ensuing season. He started on Solomon on 5th May 1748 and terminated the score on 13th June 1748 with the devotion S.(Soli) D.(Deo) G.(Gloria). The work is considered a link to Handel's later oratorios.
With the arrival of the Queen of Sheba, the final act of the oratorio demonstrates Solomon's "foreign policy" ability. Choir pieces expressing the most diverse human emotions are performed for her entertainment, allowing Handel to demonstrate his full range of composing skills. Possibly Handel deliberately wished to incorporate the four tempers in these chorals for the Queen of Sheba: sanguine Music, spread thy voice around, choleric Shake the dome, melancholic Draw the tear from hopeless love and phlegmatic Thus rolling surges rise... and all is calm again. In the choral Shake the dome, the two choirs confront each other like two armies in battle and are further roused by the extreme dotted rhythms of the strings. The audience experiences the choirs from the standpoint of the Queen of Sheba and is thus drawn into the happenings in a way analogous to the Greek dramas. The Queen of Sheba shows herself to be impressed with the choirs' tonal versatility and Solomon's court. The following choral, Praise the Lord with harp and tongue, exalting not only God but also and above all Solomon, is one of Handel's most magnificent works for two choirs and is thus sometimes used as the final chorale. Here, however, there follows the farewells of the two rulers and the oratorio finishes with the moral essence, "The name of the wicked shall quickly be past; but the fame of the just shall eternally last".
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