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Concerto Grosso, Op. 6, No. 9 in F: String Orchestra, Solo Strings with Ensemble, Solo Violin 1 Part

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Concerto Grosso, Op. 6, No. 9 in F Cover Image
Concerto Grosso, Op. 6, No. 9 in F: String Orchestra, Solo Strings with Ensemble, Solo Violin 1 Part

Concerto Grosso, Op. 6, No. 9 in F: String Orchestra, Solo Strings with Ensemble, Solo Violin 1 Part

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

Item: 36-A113948VN1
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Description
The present edition of Arcangelo Corelli's (1653-1713) CONCERTO GROSSO in F, Op. 6, No. 9 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: 605258538741
SKU: 36-A113948VN1
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. Based primarily in Rome, he established himself as both a virtuoso performer and a composer whose works became the foundation for string writing across Europe. His twelve Op. 6 concerti grossi, published posthumously in 1714, defined the genre and remained central to the repertoire for centuries.

Corelli's music is characterized by elegant phrasing, clear harmonic language, and writing that balances technical display with accessibility. His approach to string ensemble texture influenced generations of composers, from Handel to Bach. These concerti grossi remain essential repertoire for understanding how the Baroque era approached both ensemble writing and the relationship between soloists and orchestra.

Why we love this

This concerto grosso sits at the intersection of technical challenge and musical substance. The writing rewards solid ensemble coordination while providing genuine solo opportunities for your concertino violins. It's the kind of piece that sounds authentic to period style without demanding period instruments, making it ideal for standard string orchestras seeking genuine Baroque repertoire rather than arrangements.

What to expect

Graceful and animated, with moments of lyrical beauty interrupted by spirited passagework. The solo violin part dances conversationally with its partner, supported by the broader ensemble, creating the characteristic Baroque texture of soloist(s) set against ripienist strings.

Who it's for

This part is essential for your first concertino violin in any string orchestra performing this concerto grosso. It's suitable for advanced secondary students or adult community orchestras with solid string fundamentals and experience reading Baroque notation.

How to get the most out of it

  • Shape the opening ritornello as a cohesive unit among the ripieno violins before the concertino enters; clean ensemble attack will establish the polyphonic texture clearly.
  • Balance the two concertino violins as equal partners rather than featuring one over the other; listen for dialogue and interplay in their figuration.
  • Keep the continuo realization from the harpsichord part clear and rhythmically precise; it anchors harmonic movement and supports the soloists' lines.
  • Distinguish between the slow and fast movements in tempo and character; the contrast is essential to the form's architecture.

How to use it

Program this alongside other Baroque concerti grossi to build a period-style concert, or use it as a bridge between Renaissance and Classical repertoire. It works particularly well in chamber orchestra concerts or as part of a composer retrospective exploring the Baroque concerto tradition.

Skills your students will build

  • Reading Baroque notation and ornamentation conventions
  • Balancing solo line with ensemble texture
  • Articulation and phrasing appropriate to the concerto grosso form
  • Coordinate rhythmic precision across ripieno and concertino strings
  • Intonation in first position Baroque string writing

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