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Concerto Grosso, Op. 6, No. 3 in C minor: String Orchestra, Solo Strings with Ensemble, Solo Violin 2 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 Violin 2 Part

Concerto Grosso, Op. 6, No. 3 in C minor: String Orchestra, Solo Strings with Ensemble, Solo Violin 2 Part

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

Item: 36-A113448VN2
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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: 605258528537
SKU: 36-A113448VN2
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 the architect of the concerto grosso form and one of the most influential violinists of the Baroque era. Working primarily in Rome under the patronage of Cardinal Pietro Ottoboni, he established himself as both a virtuoso performer and a composer whose work became the foundation for instrumental music across Europe.

Corelli's twelve concerti grossi, Op. 6, published posthumously in 1714, represent the culmination of his compositional thinking. These works balance the Italian sensibility for singing melodic lines with rigorous formal architecture, creating pieces that remain pedagogically vital for understanding how string writing evolved in the late Baroque.

Why we love this

This C minor concerto offers a controlled introduction to the concerto grosso without sacrificing musical substance. The dialogue between solo and tutti sections is transparent enough for student musicians to hear the architecture working, yet the work sits solidly within the repertoire that shaped the symphonic tradition.

What to expect

The C minor tonality gives the work a restrained dignity. Phrases unfold with elegant inevitability, neither rushing nor dragging; there is a sense of architectural balance that feels orderly yet generous. The alternation between brilliant solo passages and grounded ensemble writing creates a conversation rather than a virtuosic display.

Who it's for

This work suits intermediate to advanced youth orchestras and college ensembles with capable concertmaster(s) and reliable continuo players. Directors programming historically informed string repertoire will find this a natural pairing with early Classical symphonies or other Baroque concertos.

How to get the most out of it

  • Establish clarity between concertino and ripieno from the first measure. The soloists should cut through without aggressive vibrato, while the ensemble provides harmonic foundation rather than competing for attention.
  • Shape the harmonic rhythm in the continuo realization. The harpsichord needn't play on every beat; allowing space where the harmony is stable makes the texture breathe.
  • Treat dynamic shifts between sections as architectural moments, not dramatic gestures. The contrast between solo and tutti is structural, not expressive.

How to use it

Consider pairing this with a larger symphonic work as an opening item that sets a tone of structured elegance, or program it alongside other Op. 6 concerti to demonstrate the coherence of Corelli's thinking as a set. It also works well as a concert anchor for a unit on Baroque form and instrumentation.

Skills your students will build

  • Listening to and responding to textural roles (solo vs. tutti)
  • Baroque articulation and phrasing conventions
  • Doubling and balance in string ensemble writing
  • Harmonic awareness through continuo realization
  • Rhythmic coordination in contrapuntal textures

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