Concerto Grosso in D minor, Op. 2, No. 5 Cover Image

Concerto Grosso in D minor, Op. 2, No. 5: String Orchestra, Solo Strings with Ensemble, Conductor Score & Parts

$55.00 USD
$55.00 USD
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Concerto Grosso in D minor, Op. 2, No. 5 Cover Image
Concerto Grosso in D minor, Op. 2, No. 5: String Orchestra, Solo Strings with Ensemble, Conductor Score & Parts

Concerto Grosso in D minor, Op. 2, No. 5: String Orchestra, Solo Strings with Ensemble, Conductor Score & Parts

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

Item: 36-A328502
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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 D minor, Op. 2, No. 5 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.
UPC: 659359752193
SKU: 36-A328502
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 a Baroque violinist and composer whose reputation rivaled that of Handel and Corelli during his lifetime, yet his music has been largely eclipsed by history. Born in Lucca, Italy, Geminiani became known throughout Europe as both a virtuoso performer and a master of the concerto grosso form, which he inherited and refined from Corelli's foundational work.

Geminiani's three published sets of concerti grossi (Op. 2, Op. 3, and Op. 7) were composed with the English market in mind, where audiences remained devoted to the Corellian contrapuntal style even as the rest of Europe embraced the emerging galant aesthetic. His compositions reveal sophisticated harmonic writing and elegant part-writing that rewards both ensemble players and listeners attentive to Baroque polyphony.

Why we love this

This concerto grosso offers string orchestras a direct window into what made Geminiani's music competitive with Corelli's during the 1730s. The D minor setting brings weight and dignity to the form, while the interplay between the concertante soloists and ripieno ensemble creates the kind of textural clarity that teaches young players how Baroque composers built drama through contrast rather than orchestral mass.

What to expect

The D minor tonality imparts a serious, contemplative character to this work, with graceful solo writing that never abandons the structural logic of Baroque form. The dialogue between soloists and ensemble unfolds with a kind of courtly elegance, rewarding attentive listening and precise ensemble discipline.

Who it's for

String orchestras with intermediate to advanced players who are ready to engage with Baroque part-writing and the specialized demands of the concerto grosso texture. Directors seeking to program beyond the familiar Corelli concerti grossi will find in Geminiani a composer of comparable craft and historical significance.

How to get the most out of it

  • Balance the concertante soloists so their part-writing remains audible within the full ensemble; resist the impulse to push them forward as if they were Romantic concerto soloists.
  • Shape phrases according to the harmonic rhythm rather than the bar line, allowing the underlying contrapuntal motion to dictate breathing points.
  • Attend to the realized continuo part as a harmonic anchor; it should support ensemble cohesion without overwhelming the string voices above it.
  • Differentiate articulation between ripieno and concertante sections so the ear easily tracks the concerto grosso principle at work.

How to use it

Program this alongside or opposite a Corelli concerto grosso to illuminate the stylistic continuity and subtle differences between the two masters. It works well in a concert focused on Baroque string literature, or as a vehicle for demonstrating how composers of the era adapted the concerto grosso principle to different harmonic and textural contexts.

Skills your students will build

  • Baroque part-writing and voice leading
  • Balancing solo and ensemble textures within the concerto grosso framework
  • Harmonic analysis and phrase shaping based on underlying contrapuntal motion
  • Rhythmic precision in ensemble contexts with realized continuo
  • Articulation and stylistic differentiation between ripieno and concertante sections

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