[406] _12 Grand Concertos_ for stringed instruments and clavier (Vol. XXX of the Complete Edition), written from September 29 to October 20, 1739, between the little _Ode to St. Cecilia_ and _L'Allegro_. They appeared in April, 1740. Another volume, of which we will speak later, is known under the name of _Oboe Concertos_, and contains six _Concerti Grossi_ (Vol. XXI of the Complete Edition). Max Seiffert has published a well-edited practical edition of these concertos (Breitkopf). [407] The _Concertino_ consists of a trio for two violins and bass _soli_, with _Cembalo Obbligato_. The Germans introduced wood-wind into the _concertino_, combining thus a violin, an oboe, a bassoon. The Italians remained faithful, generally speaking, to the stringed instruments alone. [408] The _Concerti Grossi_, Op. 6, of Corelli, published in 1712, represent his lifelong practice. About 1682, George Muffat, visiting Rome, sought to make acquaintance there with the _Concerti Grossi_ of Corelli, who already wrote them for instrumental masses of considerable size. Burney speaks of a concert of 150 string instruments conducted by Corelli at the Palace of Christine of Sweden in 1680 (see Arnold Schering's excellent little book: _Geschichte des Instrumentalkonzerts_, 1905, Breitkopf). [409] Geminiani caused three volumes of Corelli's Concertos to be published: Op. 2 (1732), Op. 3 (1735), Op. 7 (1748). [410] Arnold Schering has noted the relationship between a subject of Geminiani and one in Handel's _Concerto Grosso_, No. 4. [411] Volume XXI of the Complete Edition. [412] About 1682, Muffat published at Salzburg his _Armonico tributo_, Chamber Sonatas, where he mingled the style of the Lullian Trio with the style of the Italian _Concertino_. And in 1701, at Passau, he published some _Concerti Grossi_ in the Italian manner after the example of Corelli. [413] _Concerti Grossi_, Amsterdam, 1721. [414] Antonio Vivaldi of Venice (1680-1743), choirmaster of the Ospedale della Pieta from 1714, began to be known in Germany between 1710 and 1720. The arrangements of his _Concerti Grossi_, which J. S. Bach made, date from the time when Bach was at Weimar, that is between 1708 and 1714. [415] Locatelli and Vivaldi came under the influence of the Italian Opera. Vivaldi himself wrote thirty-eight operas. One of the _Concerti_ of Locatalli (Op. 7, 1741) was named _Il pianto d'Arianna_. In the _Cimento dell'Armonia_ of Vivaldi four Concertos describe the four seasons, a fifth paints _La Tempesta_, a sixth _Il Piacere_ (Pleasure). In Vivaldi's Op. 10 a Concerto represents _La Notte_ (Night), another _Il Cardellino_ (The Goldfinch). And Arnold Schering notices Vivaldi's influence in Germany on a Granpuer at Darmstadt, and on Jos. Gregorius Werner in Bohemia.