[417] One sees French influences particularly in the Tenth Concerto (in D minor), which has an Overture (Grave in 4-4 time and Fugue in 6-8). The whole movement preserves an abstract and irregular character. The last of the six movements—an Allegro Moderato, with Variations (very pretty)—resembles a tune for a musical box.
[418] See even the Third Concerto in E minor, so vivacious, with its Larghetto 3-2, melancholy and serene, its Andante 12-8 Fugue with an elaborate theme of twirling designs which gives the impression of the fancies of a capricious and gloomy soul, its Allegro in 4-4, with a humour a little grotesque—its picturesque Polonaise on a pedal-bass, and its final allegro ma non troppo of which the rhythm and unexpected modulations make one think of certain dances in the later quartets of Beethoven.
[419] The Fifth Concerto in D major may be styled the Concerto to St. Cecilia; for three out of the six movements (the two first and the beautiful final minuet) are found again in the Overture to the little Ode to St. Cecilia.
[420] Arnold Schering believes that the idea of this Musette was given to Handel by a ritournelle from Leonardo Leo’s S. Elena il Calvaroa.
[421] The two last allegri conclude the work a trifle brusquely. The order of the movements with Handel is often very surprising. It is as though he followed the caprice of the moment.
[422] We cannot continue here the analysis of the other volumes of Orchestral Concertos. I satisfy myself with merely enumerating them: The 6 Concerti grossi con due violini e violoncello di concertino obligati e due altri violini viola e basso di concerto grosso, op. 3, known under the name of Oboe Concertos (notwithstanding that the oboe does not play a very prominent rôle), were published in 1734, and seemed to have been performed at the Wedding of the Prince of Orange with the Princess Anne in 1733. But, as we are told, their composition was previous to this; for not only do we find in the third and the fifth the reproduction of fugues from the Clavier Pieces, but the fourth served in 1716 as the second overture to Amadigi, and the first movement of the fifth was played in 1722 in the opera Ottone. The form of these Concertos, even less set than with the preceding Concerti Grossi, varies from two to five movements, and their orchestration comprises, besides the strings, two oboes, to which are occasionally added two flutes, two bassoons, the organ and the clavecin. It is only exceptional that the oboe plays a solo part; more often it has to satisfy itself by reinforcing the violins.
To this volume we must add a number of other concertos, which appeared at different times, and are brought together in Volume XXI of the Complete Works; especially the celebrated Concerto of Alexander’s Feast, written in January, 1736, of which the style has the same massive breadth as the oratorio itself. And four little concertos, two of which are interesting by being youthful works, from 1703 to 1710, according to Chrysander.
[423] Handel’s Overtures were so much appreciated that the publisher Walsh issued a volume of them for the clavier(65 Overtures). A good specimen of these transcriptions is found in Volume XLVIII of the Complete Edition.
[424] Both movements are rudimentary.
[425] This device is often used by Handel to make the transition between the orchestra and the voice.