Corelli: 12 Concerti grossi, Op. 6: Concerto No. 7 in D major

Over the last week, I've been listening to The Argo Years by Neville Marriner and the Academy of St. Martin-in-the Fields.  To-day I got to the last disc, which contains selections from various composers' concerti grossi, and I noticed something about Corelli's (Concerto No. 7 in D major from 12 Concerti grossi, Op. 6).

A few days ago, I wrote about a diatonically-descending line that skips octaves after every pair of notes in his Concerto No. 12 from the same work.  It's also in Concerto No. 7, specifically in the third movement:

(notation found here)

As in Concerto No. 12, it's primarily in the cello part, but pairs of adjacent notes are also in the other instrumental parts (although the viola is ascending rather than descending).

Finding this feature again furthers the confusion that I talked about last time, but - if nothing else - I found a similarity between two concerti in this Corelli work.

Corelli: 12 Concerti grossi, Op. 6, Concerto No. 12 in F major

Yester-day I listened to Corelli's 12 Concerti grossi, Op. 6.  I noticed something in the first movement of the last concerto (No. 12 in F major), but it's not so much something I want to point out as it is something that confused me.

What I thought I heard (and what checking the score revealed to be true) was pairs of notes played at alternating octaves that trace a diatonic descent.  In the example below, it's in the cello part in measures 19 and 22-23:

(notation found here)

It sounded familiar to me because this is the fourth classical piece I've found that feature in.  I first read about them in Bach's cantata Christ lag in Todes Banden, BWV 4 in John Eliot Gardiner's Bach: Music in the Castle of Heaven, and then I discovered they're also in Bach's Suite No. 3 in D major, BWV 1068:

(notation found here [BWV 4] and here [BWV 1068])

Then about four months ago, I found the same feature in Grieg's From Holberg's Time, Op. 40:

(notation found here)

At the time, I was reading a book of Grieg's letters and found one where he mentions Bach's cantatas.  Since he was obviously familiar with Bach and since the Holberg Suite was meant to be written as an evocation of an older style, I postulated that Grieg took that octave-skipping feature from Bach.  Now that I've found it in an-other piece from the same era (the early 18th century), I'm not so sure about that.  As a composer, Bach wasn't well-known in his lifetime, so I don't think that the same feature showing up in Corelli's piece is evidence of his influence.  It seems like that octave-skipping might just have been a common baroque feature.