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.

The Beatles' "Sea of Monsters"

I just listened to the Beatles' Yellow Submarine.  The second half of this is the soundtrack to the Yellow Submarine movie, which I've never seen, and I think this is only the second time I've listened to it, but I still found something to say about it.

At about 2:22 in the track "Sea of Monsters," there's a fairly lengthy quotation of the opening of the second movement of Bach's third orchestral suite (BWV 1068).  It lasts until about 2:36.  Judging by the recording I have of the third orchestral suite (by the Academy of St. Martin-in-the-Fields directed by Neville Marriner), the quotation is pretty accurate too.  The only major differences I can find are that the accompaniment in "Sea of Monsters" is pizzicato where in the original it's done with the bow and that there are a few extra notes in the descending melody in "Sea of Monsters" before the quotation ends.

Because I haven't seen the movie, I don't know how or if that Bach quotation relates to it, but now I'm curious.