When a lyricist describes his composer’s head as “full of maggots”, the chances of a harmonious collaborative outcome would seem slim. For Charles Jennens, the aesthete aristocratic librettist of Handel’s oratorio “Saul,” such a jeremiad was not a solitary instance. The principal object of Jennens’ ire was Handel’s highly original orchestration, especially the invention of a tinkling bell-like keyboard called a “Carillon” {…}