Concerto Grosso, Op. 6, No. 12 in F Cover Image

Concerto Grosso, Op. 6, No. 12 in F: String Orchestra, Solo Strings with Ensemble, Solo Violin 1 Part

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Concerto Grosso, Op. 6, No. 12 in F Cover Image
Concerto Grosso, Op. 6, No. 12 in F: String Orchestra, Solo Strings with Ensemble, Solo Violin 1 Part

Concerto Grosso, Op. 6, No. 12 in F: String Orchestra, Solo Strings with Ensemble, Solo Violin 1 Part

By Arcangelo Corelli, ed./arr. by Waldemar Woehl

Item: 36-A114248VN1
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Description
The present edition of Arcangelo Corelli's (1653-1713) CONCERTO GROSSO in F, Op. 6, No. 12 is based on the edition by Roger of Antwerp, printed in 1714. At that time, 12 concerti grossi - namely 8 church concerti (concerti da chiesa) and 4 chamber concerti (concerti da camera) were published posthumously in 1714 under opus number 6, having been commissioned by Cardinal Pietro Ottoboni. Likely composed sometime around 1690, the concerto is scored for an ensemble of two concertino violins and a cello, plus the ripieno strings and continuo. The harpsichord or organ continuo was realized by Waldemar Woehl. Instrumentation: Str (2-2-2-1-1 in set): Vn(2) concertante: Vc concertante: Hpchd in set. Reprint edition.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 605258544322
SKU: 36-A114248VN1
Instrumentation: Str (2-2-2-1-1 in set): Vn(2) concertante: Vc concertante: Hpchd in set

More about this title

About the Composer: Arcangelo Corelli

Arcangelo Corelli (1653–1713) was an Italian violinist and composer who established the modern violin technique and shaped the concerto grosso into its most influential form. Working primarily in Rome under the patronage of Cardinal Pietro Ottoboni, Corelli codified the principles of Baroque string writing: clear dialogue between soloists and tutti, idiomatic violin figurations, and harmonic language that balanced counterpoint with emerging tonality.

His twelve concerti grossi, Op. 6, were published posthumously in 1714 and became the standard teaching and performance repertoire for generations of string players and ensembles. These works proved that orchestral music could be both structurally sophisticated and emotionally direct, making them foundational to both the pedagogical and concert traditions.

Why we love this

This concerto grosso sits at the exact intersection of technical challenge and musical reward. The solo violin 1 part demands both virtuosity and stylistic awareness, while the ripieno strings provide structural support that allows young players to experience ensemble interdependence in a historical masterwork. Corelli's language is immediately recognizable and deeply satisfying to play, making this a piece your orchestra will want to revisit.

What to expect

Corelli's F major writing is warm and graceful, unfolding across multiple movements in the church concerto style. The solo violin 1 dances above the ensemble, sometimes in intimate dialogue with the concertino cello, sometimes commanding the full ripieno with sustained brilliance. The overall effect is one of elegant authority rather than virtuosic display.

Who it's for

This part is essential for advanced high school or college string orchestras seeking authentic Baroque concerto grosso repertoire. The solo violin 1 requires a player with secure intonation, rhythmic independence, and sensitivity to period style, making it ideal for a principal or advanced section leader.

How to get the most out of it

  • Balance the concertino violins and cello as a distinct musical voice. They should cut through the ripieno without forcing; clarity comes from rhythmic precision and harmonic function, not volume.
  • Shape phrases in the solo violin 1 part with the long lines Corelli wrote, resisting the urge to articulate too frequently. Let the bow sustain his musical thought across several measures.
  • Realize the continuo with gentle harmonic support, allowing it to anchor the texture without overwhelming the melodic voices. The harpsichord realization by Woehl provides guidance for the harmonic rhythm.
  • Use the contrasts between concertino and ripieno sections as structural signposts. Make these transitions clean and intentional so the architecture of the work becomes audible.

How to use it

Program this alongside other Baroque concerto grossi to explore the form's development, or pair it with later violin concertos to show the lineage from ensemble to soloist. Its modest instrumentation and 1690s stylistic anchor make it an excellent precursor to classical symphonic writing on a concert exploring the bridge between the Baroque and Classical eras.

Skills your students will build

  • Solo-tutti balance and textural awareness in concerto grosso form
  • Baroque phrasing and sustained legato across multiple measures
  • Independent rhythmic precision as a solo voice within ensemble context
  • Reading from a single part while listening to ensemble function
  • Baroque violin ornamentation and style conventions

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