Concerto Grosso in F, Op. 6, No. 9, HWV 327 Cover Image

Concerto Grosso in F, Op. 6, No. 9, HWV 327: String Orchestra, Solo Strings with Ensemble, Solo Vn2 (EDWIN F KALMUS)

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Concerto Grosso in F, Op. 6, No. 9, HWV 327 Cover Image
Concerto Grosso in F, Op. 6, No. 9, HWV 327: String Orchestra, Solo Strings with Ensemble, Solo Vn2 (EDWIN F KALMUS)

Concerto Grosso in F, Op. 6, No. 9, HWV 327: String Orchestra, Solo Strings with Ensemble, Solo Vn2 (EDWIN F KALMUS)

By George Frideric Handel, ed./arr. Wilhelm Weismann

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Description
George Frideric Handel's (1685-1759) Concerti Grossi, Op. 6 (also Twelve Grand Concertos, HWV 319-330), are a collection of twelve concerti grossi for two violins and cello with an accompanying four-part string orchestra and harpsichord continuo, and they are among the best examples of the Baroque concerto grosso. Modeled more on Arcangelo Corelli's concerto da chiesa and concerto da camara than on Antonio Vivaldi's three-movement form adopted by J.S. Bach, these 1739 works were composed to be performed during the intermissions of Handel's oratorios. Among the twelve Concerto Grosso can be found a mixture of original music and music borrowed from other works by the composer. The first movement of No. 9 in F, HWV 327 is entirely newly composed, the second and third movements are reworked from the first two movements of the organ concerto in F Major, HWV 295, "The Cuckoo and the Nightingale," the fourth and fifth movements are borrowed from the overture of Handel's Italian opera Imeneo, and the theme for the final movement (Gigue) is reminiscent of Arcangelo Corelli's Giga from his Concerto Grosso No. 12 of his Twelve concerti grossi, Op. 6, upon which Handel's concerti grossi was modelled. Instrumentation: Str (2-2-2-1-1 in set): Hpchd (in set): Soli Vn(2).Solo Vc. This urtext edition has been edited by Wilhelm Weismann.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852535-1
ISBN13: 979-8-88-852535-7
UPC: 676737812126
SKU: 36-A115848VN2
Instrumentation: Str (2-2-2-1-1 in set): Hpchd (in set): Soli Vn(2).Solo Vc

More about this title

About the Composer: George Frideric Handel

George Frideric Handel (1685-1759) was a German-born composer who spent most of his career in England, where he became a dominant figure in Baroque music. He wrote operas, oratorios, instrumental concertos, and chamber works with equal mastery, moving fluidly between Italian and English musical traditions. His concerti grossi represent some of the finest examples of the form, blending structural sophistication with immediate melodic appeal.

Handel composed his Twelve Grand Concertos, Op. 6 (HWV 319-330) in 1739, partly from newly written material and partly by adapting movements from his own earlier works. This compositional economy reflects both practical necessity and artistic confidence; he knew which of his own ideas deserved a second life in a new context. The concertos were originally performed during intermissions at his oratorio performances, serving as instrumental interludes for audiences already familiar with his dramatic genius.

Why we love this

This concerto grosso sits at the intersection of architectural elegance and Baroque warmth, offering string orchestras a work that demands musicianship without requiring the specialized technique of later Romantic literature. The five-movement structure gives your ensemble room to explore contrasting musical ideas while maintaining coherence, and the dialogue between soloists and tutti creates natural opportunities for leadership development across your violin section.

What to expect

The opening Largo draws you into a world of rhetorical gestures and measured elegance; the dialogue between soloists and ensemble feels like a conversation between courtly speakers. Subsequent movements alternate between energetic allegros and introspective slow movements, creating a journey that feels both carefully constructed and musically alive.

Who it's for

Advanced high school and college string orchestras seeking substantial Baroque repertoire that showcases ensemble discipline and allows featured violinists meaningful solo material. Musicians preparing for auditions or recordings will find this concerto gross a sophisticated choice that demonstrates command of period style without requiring specialized historical performance training.

How to get the most out of it

  • Balance the two solo violins with clarity; they function as true equals in conversation rather than as a solo instrument with accompaniment, so both players need projection and presence from the opening movement.
  • Shape phrases according to the underlying harmonic rhythm rather than phrase length alone; Handel's part-writing reveals the architecture when you honor the voice-leading across string parts.
  • Keep the continuo (harpsichord) present and rhythmically precise; it anchors the harmonic foundation and should never disappear into the background despite its role as accompaniment.
  • Approach the borrowed movements (II, III, IV, and V) with awareness of their original contexts; knowing they come from an organ concerto and an opera overture can inform your interpretive choices about density and dramatic pacing.

How to use it

Program this as the centerpiece of a Baroque string concert, pairing it with shorter works by Corelli or Vivaldi to contextualize Handel's approach to the form. It also works effectively as a season-opening piece that establishes your ensemble's technical standards and musical literacy without requiring the full orchestra.

Skills your students will build

  • Baroque articulation and phrasing conventions
  • Dialogue between solo and tutti sections
  • Part-independence within a four-part string texture
  • Harmonic awareness through continuo-based writing
  • Ensemble balance with featured soloists

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