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Concerto Grosso in G minor, Op. 3, No. 2: String Orchestra, Solo Strings with Ensemble, Conductor Score

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Concerto Grosso in G minor, Op. 3, No. 2 Cover Image
Concerto Grosso in G minor, Op. 3, No. 2: String Orchestra, Solo Strings with Ensemble, Conductor Score

Concerto Grosso in G minor, Op. 3, No. 2: String Orchestra, Solo Strings with Ensemble, Conductor Score

By Francesco Geminiani, ed./arr. by Robert Franz Richard Hernried

Item: 36-A114401
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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. 3 were written first in 1732-1733, but were revised by Geminiani in 1755. This edition of Concerto Grosso in G minor, Op. 3, No. 2 has been edited by Robert Hernreid, 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.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-270077-4
ISBN13: 979-8-89-270077-1
UPC: 659359933103
SKU: 36-A114401
Instrumentation: (Ripieno/Concertante parts combined): Str (4-4-3-3-3 in set): Concertante: Vn(2).Va.Vc: Hpchd in set

More about this title

About the Composer: Francesco Geminiani

Francesco Geminiani (1687-1762) was an Italian violinist and composer whose career spanned the late Baroque era across Italy and England. Though largely overshadowed by his contemporaries Handel and Corelli in modern curricula, Geminiani commanded comparable respect during his lifetime, earning positions as a sought-after virtuoso performer and a prolific publisher whose works circulated widely through London printing houses.

Geminiani's creative output centered on the concerto grosso, a form he refined across three major opus collections totaling 42 works. His deep study of Corelli's contrapuntal language shaped his own compositional voice, and his ability to balance the contrast between soloists and ensemble became a hallmark of his writing. His concerti grossi remained performance staples in England even as continental Europe moved toward the emerging galant aesthetic.

Why we love this

This score preserves the architectural clarity of the Baroque concerto grosso while Robert Hernried's editing makes the solo-ensemble interchange immediately transparent to modern conductors. The G minor tonality gives the work emotional weight; combined with Geminiani's gift for memorable melodic lines, it strikes a perfect balance between pedagogical transparency and genuine artistic substance for orchestras ready to move beyond simple string transcriptions.

What to expect

The minor key and contrapuntal texture create an introspective, dignified atmosphere that never tips into melancholy. Geminiani's melodies unfold with elegant restraint, and the interplay between the ripieni and concertante strings generates an engaging musical conversation that feels both structured and animated.

Who it's for

Advanced high school orchestras and college string ensembles seeking authentic Baroque repertoire that showcases both collective ensemble playing and solo string leadership. This work demands secure intonation, independence among sections, and musicians comfortable with the rhetorical pacing of Baroque form, making it ideal for programs that have moved beyond early training-level repertoire.

How to get the most out of it

  • Shape the opening ritornello as a unified gesture from the full ensemble, then allow the solo violins to step forward with clear independence when the concertino enters; the contrast is the heart of the form.
  • Realize the continuo part with enough presence to anchor harmonic movement without overpowering the string lines; a harpsichord cut through readily at Baroque pitch and dynamic levels.
  • Balance the inner viola and cello parts carefully during episodes where they support the solo writing; these voices often contain the countermelodic material that prevents the texture from feeling hollow.
  • Take care with the ripieno's rhythmic stability during rapid passage work in the soloists; ensemble discipline here prevents the solo passagework from feeling rushed or unsupported.

How to use it

Program this alongside or in contrast with a Corelli concerto grosso to help audiences understand the lineage and refinement Geminiani brought to the form. It also serves as a strong centerpiece for a Baroque string orchestra concert or as a substantial concert opener that establishes the ensemble's technical and interpretive capabilities.

Skills your students will build

  • Playing in the concerto grosso form with clear delineation between ripieno and concertante roles
  • Baroque articulation and ornamentation appropriate to Italian instrumental writing
  • Balancing multiple independent melodic lines in contrapuntal textures
  • Intonation stability and ensemble blend across extended passages in minor tonalities
  • Responding to the rhetorical pacing and harmonic rhythm of Baroque forms

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