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Rh Handel attached to them a particular value, for he published them himself by subscription, a means which was usual in his day, but which he himself never adopted except under exceptional circumstances.

One knows that the kind of Concerti Grossi, which consists chiefly in a dialogue between a group of solo instrumentalists (the Concertino) and the full body of instruments (Concerto Grosso), to which is added the cembalo, was, if not invented, at least carried to its perfection and rendered classical by Corelli. The works of Corelli, aided by the efforts of his followers, had become widely known in Europe. Geminiani introduced them into England, and without doubt Handel did not hesitate to profit by the example of Geminiani, who was his friend; but it is much more natural to think that he learnt the Concerto Grosso, at its source at Rome, from Corelli himself during his sojourn there in 1708. Several of his Concertos in his Opus 3 date from