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But one ought to know especially the Sixth Concerto in G minor, the most celebrated of all on account of its magnificent Musette. It opens with a beautiful Larghetto, full of that melancholy which is one of the dominant sentiments with Handel, and one of the least observed by most people: melancholy that is, in the sense of the Malinconia of Dürer, or of Beethoven—less agitated, but still profound. We have already encountered it in the Second, in the Third, and in the Fourth Concerto. Here it is found in an elegiac monologue, punctuated by pedal points;