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.[419] Here it is found in an elegiac monologue, punctuated by pedal points; [Illustration: _Largo affettuoso_] then in the dialogues of the _Concertino_ and of the _Tutti_ responding, like the groups of the ancient classical chorus. The _allegro ma non troppo_ fugue which follows it, on a twisting chromatic theme, is of the same sombre colour. But it is the lusty march of the disciplined fugue which dispels the fantastic shadows. [Illustration: _Allegro ma non troppo_] Then comes the _Larghetto_, three-four time in E flat major, which Handel calls a Musette, and which is one of the most delightful dreams of pastoral happiness.[420] A whole day of poetic and capricious events gradually unrolls itself over the beautiful echoing refrain, [Illustration: _Larghetto_] then the movement slackens, nearly going to sleep, then presses forward again, acquiring a strong, joyous rhythm, a pulsating dance of robust youths, full of bounding life. In the midst of this picture an episode, rustic and frolicsome, is introduced. [Illustration] [Illustration: _Un poco piu allegro_] [Illustration] Then the broad subject of the Introduction recurs with its refrain of quiet joy, nature's own smile.[421] Such works are truly pictures in music. To understand them it does not suffice to have quick ears; it is necessary to have the eyes to see, and the heart to feel.[422] * * * * *