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

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

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

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

Item: 36-A328446
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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, 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.)

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-270047-2
ISBN13: 979-8-89-270047-4
UPC: 659359718441
SKU: 36-A328446
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 composer and virtuoso violinist whose reputation during his lifetime rivaled that of Handel and Corelli. Born in Lucca, he established himself as a performer and pedagogist across Europe before settling in London, where he became a central figure in the city's musical life. His three published sets of concerti grossi (Op. 2, Op. 3, and Op. 7) represent his most enduring contribution to the repertoire, demonstrating his mastery of the Corellian contrapuntal style even as European taste shifted toward the emerging galant idiom.

Geminiani's concerti grossi were written specifically for English audiences who remained devoted to the grand, polyphonic textures of the older Italian masters. These works proved immensely popular in London and were rapidly reprinted, securing his position as a significant figure in mid-18th-century musical life. Though largely overshadowed in later centuries, his works remain valuable documents of late Baroque orchestral writing and continue to offer performers access to a refined, elegant approach to the concerto grosso form.

Why we love this

This work sits at an ideal pedagogical moment in the Baroque repertoire. The writing balances melodic clarity with genuine ensemble dialogue, giving soloists room to shine while keeping the ripieno parts engaged and essential. The realization of the harpsichord continuo removes a major hurdle for conductors working without a basso continuo specialist, making this edition genuinely practical for school and community orchestras.

What to expect

This concerto grosso unfolds with the refined elegance of late Italian Baroque style. The dialogue between solo and ensemble parts creates moments of courtly grace punctuated by moments of energetic contrapuntal texture. The overall effect is one of civilized brilliance, with lyrical passages in the solo strings set against warm, supportive harmonic fabric from the ensemble.

Who it's for

String orchestras at the intermediate to advanced level, including youth orchestras, community ensembles, and pre-college programs seeking substantive Baroque repertoire. Conductors working with groups that have developed secure ensemble technique and basic Baroque style awareness will find this work rewarding. The practical continuo realization makes it accessible to orchestras without a dedicated harpsichord player.

How to get the most out of it

  • Shape the opening ritornello with careful attention to phrase breathing; let the ensemble establish harmonic stability before the concertante soloists enter with their more ornamental figurations.
  • Balance the two solo violins so they function as a true duet rather than a first-and-second arrangement. The interplay between these parts drives the solo sections forward.
  • Realize the harpsichord as an active voice in the texture, not merely harmonic filler. The continuo part often supports the counterpoint rather than simply filling chords, particularly in passages where violas or cellos carry sustained lines.
  • Maintain steady harmonic support from the ripieno bass throughout; Geminiani's harmonic progressions are often subtle, and a secure foundation allows the upper voices to project their contrapuntal detail clearly.

How to use it

Program this as an anchor work in a Baroque-focused concert, pairing it with other works from Geminiani's Op. 2 set or contemporary concerti grossi by Corelli or Locatelli. It also functions effectively in a thematic program exploring the contrast between Italian Baroque string writing and the galant idiom that was gaining currency elsewhere in Europe during the 1730s-1740s.

Skills your students will build

  • Balancing solo and ripieno textures in the concerto grosso form
  • Playing Baroque phrasing and articulation with stylistic awareness
  • Ensemble precision in rapid contrapuntal passages
  • Coordination between strings and continuo in figured bass realization
  • Flexible dynamic control and terraced dynamics characteristic of Baroque performance practice

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