Concerto Grosso, Op. 6, No. 3 in C minor Cover Image

Concerto Grosso, Op. 6, No. 3 in C minor: String Orchestra, Solo Strings with Ensemble, Solo Cello Part

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Concerto Grosso, Op. 6, No. 3 in C minor Cover Image
Concerto Grosso, Op. 6, No. 3 in C minor: String Orchestra, Solo Strings with Ensemble, Solo Cello Part

Concerto Grosso, Op. 6, No. 3 in C minor: String Orchestra, Solo Strings with Ensemble, Solo Cello Part

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

Item: 36-A113448VC
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Description
The present edition of Arcangelo Corelli's (1653-1713) CONCERTO GROSSO in C minor, Op. 6, No. 3 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: 605258529527
SKU: 36-A113448VC
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) established the modern string orchestra as we know it. A violinist of legendary technique and expressive power, he spent most of his career in Rome under the patronage of Cardinal Pietro Ottoboni, where he led performances and trained the next generation of players. His twelve concerti grossi, Op. 6, were published posthumously and became foundational works for understanding Baroque ensemble writing.

Corelli's influence shaped how composers thought about the interplay between soloists and ensemble. His concerti grossi demonstrate crystalline counterpoint, idiomatic string writing, and a gift for memorable melodic material that still feels fresh. For music educators, his work represents the moment when the string orchestra became a disciplined, expressive instrument capable of both intimate dialogue and grand statement.

Why we love this

This concerto offers a complete rehearsal and performance experience without requiring period-instrument expertise. The solo cello part draws students into genuine dialogue with the solo violins, building chamber music sensibility within a full ensemble context. Woehl's realization of the continuo part provides harmonic clarity that helps younger orchestras lock together while learning the architecture of Baroque form.

What to expect

The C minor tonality gives this concerto a reflective, sometimes melancholic undertone. The interplay between the solo trio and the ensemble creates moments of intimate conversation interrupted by grand rhetorical gestures, pulling the listener between restraint and warmth.

Who it's for

Advanced youth orchestras and community ensembles ready to tackle Baroque textures with three distinct solo voices. This work suits programs that have strong principal players capable of trading melodic material and enjoying the give-and-take of concerto grosso writing.

How to get the most out of it

  • Balance the two solo violins first, then position the solo cello slightly forward so its sustained lines cut through without overpowering the ritornello passages.
  • Allow the ripieno strings to breathe on the tutti sections; resist the impulse to drive through them. Let the ensemble entries create the architecture.
  • The cello soloist should shape phrases with clarity in the fast movements; phrasing articulation often matters more than dynamic contrast in this music.
  • Work the continuo realization with your accompanist separately so the harmonic foundation sits securely before adding the full ensemble layer.

How to use it

Pair this with other Op. 6 concerti to build a full Baroque concert, or program it alongside later Classical concertos to trace the evolution of solo-ensemble relationships. It works especially well as the centerpiece of a season exploring Italian Baroque orchestral music.

Skills your students will build

  • Playing as a soloist within an ensemble context
  • Understanding ritornello form and how thematic material recurs
  • Balancing three independent solo lines with ripieno accompaniment
  • Maintaining rhythmic precision in Baroque ensemble texture without modern vibrato excess
  • Listening for harmonic function signaled by the continuo part

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