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Concerto Grosso, Op. 6, No. 4 in D: String Orchestra, Solo Strings with Ensemble, Solo Cello 2 Part

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Concerto Grosso, Op. 6, No. 4 in D Cover Image
Concerto Grosso, Op. 6, No. 4 in D: String Orchestra, Solo Strings with Ensemble, Solo Cello 2 Part

Concerto Grosso, Op. 6, No. 4 in D: String Orchestra, Solo Strings with Ensemble, Solo Cello 2 Part

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

Item: 36-A113548VC
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Description
The present edition of Arcangelo Corelli's (1653-1713) CONCERTO GROSSO in D, Op. 6, No. 4 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: 605258532374
SKU: 36-A113548VC
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) shaped the sound of Baroque instrumental music across Europe. His mastery of the violin and his systematic approach to composition made him the most influential string composer of his generation, and his pedagogical legacy extended far beyond his lifetime through students who spread his methods across the continent.

Corelli's concerti grossi represent the apex of his compositional craft. Written late in his life and published posthumously under the patronage of Cardinal Pietro Ottoboni, these twelve works distill decades of performance experience into music that balances virtuosity with formal clarity, making them foundational repertoire for understanding the concerto grosso genre.

Why we love this

This concerto grosso gives student orchestras a genuine Baroque masterwork that fits ensemble sizes realistically. The solo-ripieno dialogue is musically satisfying without overwhelming young players, and the continuo realization means your orchestra can perform this with full harmonic support rather than skeletal basso continuo.

What to expect

Elegant and purposeful, with a courtly grace that never becomes fussy. The dialogue between soloists and ensemble has the intimacy of chamber music scaled up to orchestra size, and the harmonic language opens windows into a world where musical logic flows from clear structural thinking rather than Romantic emotion.

Who it's for

Advanced high school string orchestras and college ensembles ready for genuine Baroque repertoire. Students pursuing string performance or music history will find this a cornerstone work that rewards careful study of period style.

How to get the most out of it

  • Establish the continuo player as a stable harmonic anchor before rehearsing the full group. The harpsichord realization will clarify harmonic movement for string players learning Baroque voice leading.
  • Shape the solo violin and cello phrases with forward motion and clear articulation; these parts should sing above the ripieno, not blend into it.
  • Balance concertino and ripieno sections deliberately. The contrast is the point; resist the urge to make the full ensemble louder than the soloists.
  • Observe the articulation carefully in the solo parts. Corelli's writing reflects the idioms of his generation and will feel different from later Romantic string writing.

How to use it

Program this alongside Baroque concertos by Vivaldi or Handel to build a focused thematic concert exploring the concerto grosso form. It also sits naturally in a survey program spanning Renaissance through Baroque, where it anchors the string repertoire of the period.

Skills your students will build

  • Balance and dialogue between solo and tutti sections
  • Baroque articulation and phrasing appropriate to Corelli's idiom
  • Reading figured bass harmony and understanding continuo function
  • Playing with period-appropriate ornamentation and bowing styles
  • Ensemble independence within a larger string texture

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