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

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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, Harpsichord Part

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

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

Item: 36-A328646
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Concerto Grosso in A, Op. 2 No. 6: String Orchestra, Solo Strings with Ensemble, Conductor Score & Parts

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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: 8-89-270051-0
ISBN13: 979-8-89-270051-1
UPC: 659359657757
SKU: 36-A328646
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 Geminiani (1687-1762) was an Italian Baroque violinist and composer whose reputation during his lifetime rivaled that of Handel and Corelli. Though largely eclipsed by later musical fashions, he left a significant body of work centered on the concerto grosso form, which he mastered through careful study of Corelli's style and contrapuntal craft.

Geminiani spent much of his career in England, where audiences remained devoted to the Corellian idiom even as continental Europe embraced the emerging galant style. His three sets of concerti grossi (Op. 2, Op. 3, and Op. 7) were written expressly for English taste and enjoyed immediate and sustained popularity, establishing him as one of the most performed composers of his generation.

Why we love this

This concerto grosso exemplifies the transparency and contrapuntal elegance that made Geminiani's work so compelling to his contemporaries. Directors appreciate how the combined ripieno and concertante parts simplify orchestration without sacrificing the dialogue between solo and ensemble forces, making this ideal for orchestras navigating the logistics of Baroque performance practice.

What to expect

The work unfolds with the refined elegance typical of early 18th-century Italian style. The concertante and ripieno voices weave together in subtle dialogue, creating moments of intimate interplay punctuated by fuller orchestral passages that affirm harmonic arrival.

Who it's for

String orchestras seeking authentic Baroque repertoire that demonstrates the concerto grosso form without requiring separate ripieno and concertante groups. This edition suits musicians from intermediate to advanced levels who are ready to engage with Baroque counterpoint and period performance conventions.

How to get the most out of it

  • Balance the concertante soloists (two violins, viola, cello) clearly against the ripieno strings; the dialogue between these groups drives the entire work, so resist the modern impulse to blend them into a unified sound.
  • Shape phrases through bowing and articulation rather than sudden dynamic shifts. The harpsichord part should anchor harmonic movement without overwhelming the string writing.
  • Allow the realized continuo to support harmonic structure while letting the first violins carry melodic weight. The cello-harpsichord relationship is crucial to maintaining period style.
  • Approach the work with rhythmic precision and clear part independence. Baroque counterpoint requires ensemble clarity, not romantic rubato.

How to use it

Program this alongside other Corelli-influenced works to create a coherent Baroque string orchestra concert, or pair it with a later galant-style concerto to illustrate the stylistic shift that occurred during Geminiani's lifetime. Its moderate technical demands and clear structural design make it suitable for mid-season programming when orchestras are developing ensemble cohesion.

Skills your students will build

  • Baroque part independence and ensemble listening within a concertato setting
  • Understanding of ripieno and concertante roles in the concerto grosso form
  • Shaped phrasing through articulation and bowing without reliance on dynamic contrast
  • Harmonic awareness in relation to realized continuo accompaniment
  • Sustained intonation and rhythmic precision across multiple string parts

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