Concerti Armonici: Concertino No. 1 in G (spuriously attributed to Ricciotti): String Orchestra, Conductor Score & Parts

This concertino reveals layers of craftsmanship that reward repeated rehearsal and performance. String orchestras thrive on Baroque writing that demands clarity of part-writing without sacrificing lyricism, and Wassenaer delivers both in equal measure. Programming a work by a composer whose name was stolen by history adds educational depth to any concert, inviting audiences to engage with a genuine rediscovery rather than a familiar standard.

Elegant and measured, with the assured confidence of a composer who understood how to write for strings. The opening establishes a lyrical dignity that unfolds through carefully balanced dialogue between sections and solo voices, creating moments of genuine beauty alongside structural clarity.

String orchestras and conductors seeking Baroque concerto repertoire with genuine historical intrigue and musical substance. Ensembles at the intermediate to advanced level will find ample opportunity to refine their approach to period style and part-leading without grappling with extreme technical demands.

• Shape each phrase with the harmonic rhythm rather than following literal bar lines; Baroque phrasing often extends across measures in ways that modern notation alone won't reveal.
• Balance the concertini (solo group) against the ripieno strings with transparency in mind. The harpsichord continuo should provide gentle harmonic scaffolding, not rhythmic propulsion.
• Pay attention to Hinnenthal's editorial articulation markings, which reflect informed 20th-century Baroque practice while preserving the original style.
• Encourage first violins to listen actively to the second violin line; much of Wassenaer's contrapuntal writing lives in that part, and neglecting it flattens the texture.

Pair this with other Baroque concertos to build a thematic program exploring the concerto grosso tradition, or program it as a sophisticated opener that establishes ensemble refinement before moving to more elaborate works. Its moderate length and approachable character also make it suitable for educational concerts where you want to foreground the story of Wassenaer's rediscovery.

• Baroque phrasing and articulation informed by harmonic rhythm
• Part independence and voice-leading in concertino-ripieno textures
• Stylistic accompaniment with continuo instruments
• Listening for inner voices and contrapuntal details