[416] See the following dates: September 29, 1739, Concerto I in G major; October 4, Concerto II in F major; October 6, Concerto III in E minor; October 8, Concerto IV in A minor; October 12, Concerto VII in B flat major; October 15, Concerto VI in G minor; October 18, Concerto VIII in C minor; October 20, Concerto XII in B minor; October 22, Concerto X in D minor; October 30, Concerto XI in A major (Vol. XXX of Complete Edition). [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.