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 & Parts

$55.00 USD
$55.00 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 & Parts

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

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

Item: 36-A328402
$55.00
Shipped

One moment…

Related Items

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

$15.00
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 & Parts 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.
UPC: 659359982767
SKU: 36-A328402
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 technical brilliance and compositional command earned him recognition alongside his contemporaries Handel and Corelli. Though largely overshadowed by history, he enjoyed considerable esteem during his lifetime, particularly in England, where he spent much of his career and published his most significant works.

Geminiani's three published sets of concerti grossi (Op. 2, Op. 3, and Op. 7) represent his major contribution to instrumental literature. Written for English audiences who favored the contrapuntal Corellian idiom even as continental Europe moved toward galant sensibilities, these works were immediately popular and frequently republished. His ability to balance solo and ripieno writing with sophisticated harmonic language established him as a major figure in the concerto grosso tradition.

Why we love this

This work offers conductors and concertmasters a sophisticated alternative to the overplayed Corelli canon while maintaining the same accessible Baroque vocabulary. Geminiani's part writing is elegant and idiomatic for strings, with clear solo opportunities that reward careful rehearsal without demanding virtuosic display. The edited score and parts make this underperformed gem practical for school and professional orchestras alike.

What to expect

The music unfolds with the measured elegance and orderly counterpoint of high Baroque style, built on a foundation of clear harmonic progressions that ground the polyphonic activity. The dialogue between soloists and full ensemble creates moments of intimate chamber interplay within a larger orchestral canvas, generating both warmth and architectural clarity.

Who it's for

This concerto grosso suits intermediate to advanced string orchestras seeking repertoire that explores the solo/tutti dialogue at a manageable technical level. Programs with capable concertmasters and strong section leaders will find sufficient challenge in projecting the solo writing while maintaining ensemble cohesion.

How to get the most out of it

  • Balance the concertante soloists (two violins, viola, cello) as a distinct tonal entity within the larger ripieno ensemble; mark dynamic layers clearly in rehearsal to prevent blending.
  • Shape the phrases according to harmonic rhythm rather than bar lines; Baroque phrasing often breathes across the metric accent.
  • Maintain clarity in the realized continuo line; the harpsichord should articulate but never dominate the texture.
  • Keep articulation consistent within string sections so that the tutti versus solo contrast reads transparently to the listener.

How to use it

Program this as a shorter concert opener or as a centerpiece in a Baroque-themed concert pairing it with more familiar works by Corelli or Vivaldi. Its moderate length and approachable musical language make it suitable for educational concerts where you want to introduce students to the concerto grosso concept without the technical demands of later Baroque works.

Skills your students will build

  • Balance between solo and tutti textures in Baroque ensemble writing
  • Phrase shaping driven by harmonic function rather than metric placement
  • Part independence within a contrapuntal framework
  • Listening and responding to the continuo as an active structural voice

You May Also Like