Concerto Grosso in A, Op. 2, No. 6 Cover Image

Concerto Grosso in A, Op. 2, No. 6: String Orchestra, Solo Strings with Ensemble, Conductor Score

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Concerto Grosso in A, Op. 2, No. 6 Cover Image
Concerto Grosso in A, Op. 2, No. 6: String Orchestra, Solo Strings with Ensemble, Conductor Score

Concerto Grosso in A, Op. 2, No. 6: String Orchestra, Solo Strings with Ensemble, Conductor Score

By Francesco Geminiani, ed./arr. Hans Joachim Moser

Item: 36-A328601
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Description
While Italian Baroque composer and violinist Francesco Xaverio Geminiani (1687-1762) has now largely been forgotten, during his lifetime he was considered on the same tier as Handel or Corelli, whose contrapuntal style he emulated. Compositionally, he is best known for three sets of 42 concerti grossi (a term made famous by Corelli): Opus 2 (1732), Opus 3 (1733) and Opus 7 (1746). These were written for an English audience excited by the 'Corellian' style, despite the rest of Europe then adopting the fashionable galant style. These concerti grossi proved very popular on performance and were published quickly in London. The collection of Six Concertos (Concerti Grossi), Op. 2 were written first in 1732, but were revised by Geminiani in 1755. This edition of Concerto Grosso in A, Op. 2, No. 6 has been edited by Hans Joachim Moser, and it features combined ripieno and concertante string parts (4-4-3-3-3* in the set) into each instrument part and a realized cembalo/harpsichord continuo. (*The bass was included in the work, but extra violoncello parts are included should orchestras wish to have basses double the cello.)

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-270050-2
ISBN13: 979-8-89-270050-4
UPC: 659359634925
SKU: 36-A328601
Instrumentation: (Ripieno/Concertante parts combined): Str (4-4-3-3-3* in set): Concertante: Vn(2).Va.Vc: Hpchd in set (*The bass was included in the work, but extra violoncello parts are included should orchestras wish to have basses double the cello.)

More about this title

About the Composer: Francesco Geminiani

Francesco Xaverio Geminiani (1687-1762) was an Italian violinist and composer whose reputation during his lifetime rivaled that of Handel and Corelli. Though largely overlooked today, he was a virtuoso performer and influential theorist who published treatises on violin technique and musical expression that shaped 18th-century playing practice.

Geminiani spent much of his career in London, where he found an enthusiastic audience for his music. He composed over 200 works, including sonatas, concertos, and didactic pieces, but is remembered primarily for his three sets of concerti grossi, which demonstrate his mastery of the Corellian style at a moment when much of Europe had moved toward the galant aesthetic.

Why we love this

This concerto grosso offers string orchestras an opportunity to explore the contrapuntal rigor and harmonic sophistication of the Italian Baroque on repertoire that actually rewards the ensemble's effort. Rather than leaning heavily on harpsichord continuo for structural support, Geminiani writes string texture that demands real ensemble cohesion, making it both musically substantial and pedagogically rewarding for intermediate-to-advanced orchestras.

What to expect

This concerto unfolds with courtly elegance and harmonic clarity. The dialogue between the two solo violins and the broader string ensemble creates moments of intimate conversation punctuated by collective affirmations, all moving through graceful key areas with the confidence of a composer writing for an audience steeped in Italian musical tradition.

Who it's for

String orchestras at the intermediate-to-advanced level who want to tackle genuine Baroque contrapuntal writing without the complexity of a full Vivaldi or Handel concerto. Ensembles with access to a harpsichord player will find this edition particularly effective, though the piece functions adequately with the keyboard part realized on piano.

How to get the most out of it

  • Balance the two solo violins against the ripieno section with clear dynamic distinction. The soloists should project without drowning the harmonic foundation provided by the full strings.
  • Attend carefully to phrase shape within individual sections. Baroque phrasing conventions favor gentle peaks rather than consistent dynamic levels; shape each phrase toward its logical harmonic goal.
  • Coordinate the harpsichord continuo with the cello and bass line. The keyboard player should follow the instrumental bass but add judicious harmonic realization that enhances without cluttering the texture.
  • Use consistent vibrato standards across the ensemble. A unified approach to vibrato intensity will clarify the relationship between solo and tutti passages and maintain the Baroque aesthetic.

How to use it

Program this alongside other Baroque concertos for strings to build a coherent stylistic unit, or use it as a bridge between more familiar baroque war horses and deeper repertoire study. Its length and moderate technical demands make it suitable for a spring or early-season concert where you want to establish the ensemble's foundation in period style.

Skills your students will build

  • Balancing solo and tutti textures in concerto grosso form
  • Reading realized continuo parts and understanding their harmonic role
  • Shaping Baroque phrasing and articulation conventions
  • Coordinating ensemble sound in contrapuntal textures
  • Interpreting dynamic indications in early 18th-century notation

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