Concerto Grosso in D, Op. 2, No. 4 Cover Image

Concerto Grosso in D, Op. 2, No. 4: String Orchestra, Solo Strings with Ensemble, Conductor Score

$15.00 USD
$15.00 USD
Skip to product information
Concerto Grosso in D, Op. 2, No. 4 Cover Image
Concerto Grosso in D, Op. 2, No. 4: String Orchestra, Solo Strings with Ensemble, Conductor Score

Concerto Grosso in D, Op. 2, No. 4: String Orchestra, Solo Strings with Ensemble, Conductor Score

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

Item: 36-A328401
$15.00
Shipped

One moment…

Related Items

Concerto Grosso in D, Op. 2, No. 4: String Orchestra, Solo Strings with Ensemble, Conductor Score & Parts

$55.00
View

Concerto Grosso in D, Op. 2, No. 4: String Orchestra, Solo Strings with Ensemble, Harpsichord Part

$5.00
View
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, Op. 2, No. 4 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.)

Concerto Grosso in D, Op. 2, No. 4: String Orchestra, Solo Strings with Ensemble, Conductor Score isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

Request This Title

Tell us you want it.

Start Your Free Trial

Explore everything that's ready to play right now.
Sample Pages

No sample pages found.
Sample Audio
No sample audio found.
Sample Video
No sample videos found.
Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-270046-4
ISBN13: 979-8-89-270046-7
UPC: 659359531699
SKU: 36-A328401
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 violinist and composer whose reputation during the early 18th century rivaled that of Handel and Corelli. A student of Corelli, Geminiani absorbed and expanded upon his teacher's contrapuntal language, becoming a virtuoso violinist whose interpretive gifts matched his compositional skill. He spent significant portions of his career in London and Dublin, where his concerti grossi found enthusiastic audiences among musicians and patrons seeking the dignified, learned style of the Corellian tradition.

Why we love this

Geminiani's Op. 2 concerti offer orchestras a chance to step beyond the Vivaldi and Corelli canon and discover a composer whose craftsmanship and structural clarity feel immediate and rewarding. The dialogue between the concertante soloists and the ripieno ensemble creates natural opportunities for musicianship at multiple levels within the string section. Hans Joachim Moser's edition thoughtfully combines the solo and tutti parts into single instrumental lines, making this accessible for orchestras that lack separate ripienist players while preserving the authentic concerto grosso texture.

What to expect

Elegant and purposeful, with the dignified counterpoint of the Corellian school wrapped in Geminiani's own sense of structural sophistication. The interplay between soloists and ensemble creates moments of brilliance and intimacy in quick succession, while the harmonic language unfolds with clarity and directness.

Who it's for

String orchestras with intermediate to advanced technique seeking Baroque repertoire beyond the most frequently performed composers. Directors programming music that honors the historical connections between Corelli and the next generation of Baroque craftsmen will find this concerto an excellent pedagogical and artistic choice.

How to get the most out of it

  • Distinguish the concertante violin soloists from the ripieno violins through slightly forward seating and careful balance during tutti passages; the soloists should sing through without disappearing into the ensemble.
  • Shape the continuo realization with awareness of harmonic motion and dance rhythms; the harpsichord articulation drives the forward momentum of Baroque phrasing.
  • Approach the contrapuntal sections with clarity of line rather than thick blending; each voice should remain audible, honoring Geminiani's Corellian inheritance.
  • Allow time for the ensemble to settle into the style through sectional rehearsals of the ripieno parts alone before combining with soloists.

How to use it

Pair this concerto with other early 18th-century ensemble works to build a concert around composers working in the Corellian tradition. The formal structure and moderate length make it an ideal complement to a larger Baroque or Classical symphony, anchoring a program that traces the evolution of the concerto grosso.

Skills your students will build

  • Baroque phrasing and ornamentation within a contrapuntal texture
  • Balance and blend between solo and tutti sections
  • Reading figured bass harmonic concepts through the realized continuo line
  • Stylistic independence while maintaining ensemble cohesion
  • Interpretation of Baroque articulation and bowings

You May Also Like