L'Archicembalo - Geminiani: Concerti Grossi, Op. 2 & 3 (2025)

Tracklist

01. Concerto Grosso No. 1 in C Minor, Op. 2: I. Andante
02. Concerto Grosso No. 1 in C Minor, Op. 2: II. Allegro
03. Concerto Grosso No. 1 in C Minor, Op. 2: III. Adagio
04. Concerto Grosso No. 1 in C Minor, Op. 2: IV. Allegro
05. Concerto Grosso No. 2 in C Minor, Op. 2: I. Adagio
06. Concerto Grosso No. 2 in C Minor, Op. 2: II. Allegro
07. Concerto Grosso No. 2 in C Minor, Op. 2: III. Adagio
08. Concerto Grosso No. 2 in C Minor, Op. 2: IV. Allegro
09. Concerto Grosso No. 3 in D Minor, Op. 2: I. Presto
10. Concerto Grosso No. 3 in D Minor, Op. 2: II. Adagio
11. Concerto Grosso No. 3 in D Minor, Op. 2: III. Allegro
12. Concerto Grosso No. 4 in D Major, Op. 2: I. Andante
13. Concerto Grosso No. 4 in D Major, Op. 2: II. Allegro
14. Concerto Grosso No. 4 in D Major, Op. 2: III. Adagio
15. Concerto Grosso No. 4 in D Major, Op. 2: IV. Allegro
16. Concerto Grosso No. 5 in D Minor, Op. 2: I. Grave
17. Concerto Grosso No. 5 in D Minor, Op. 2: II. Allegro
18. Concerto Grosso No. 5 in D Minor, Op. 2: III. Adagio
19. Concerto Grosso No. 5 in D Minor, Op. 2: IV. Allegro
20. Concerto Grosso No. 6 in A Major, Op. 2: I. Andante
21. Concerto Grosso No. 6 in A Major, Op. 2: II. Allegro
22. Concerto Grosso No. 6 in A Major, Op. 2: III. Adagio
23. Concerto Grosso No. 6 in A Major, Op. 2: IV. Allegro
24. Concerto Grosso No. 1 in D Major, Op. 3: I. Adagio
25. Concerto Grosso No. 1 in D Major, Op. 3: II. Allegro
26. Concerto Grosso No. 1 in D Major, Op. 3: III. Adagio
27. Concerto Grosso No. 1 in D Major, Op. 3: IV. Allegro
28. Concerto Grosso No. 2 in G Minor, Op. 3: I. Largo E Staccato
29. Concerto Grosso No. 2 in G Minor, Op. 3: II. Allegro
30. Concerto Grosso No. 2 in G Minor, Op. 3: III. Adagio
31. Concerto Grosso No. 2 in G Minor, Op. 3: IV. Allegro
32. Concerto Grosso No. 3 in E Minor, Op. 3: I. Adagio E Staccato
33. Concerto Grosso No. 3 in E Minor, Op. 3: II. Allegro
34. Concerto Grosso No. 3 in E Minor, Op. 3: III. Adagio
35. Concerto Grosso No. 3 in E Minor, Op. 3: IV. Allegro
36. Concerto Grosso No. 4 in D Minor, Op. 3: I. Largo E Staccato
37. Concerto Grosso No. 4 in D Minor, Op. 3: II. Allegro-Largo-Allegro
38. Concerto Grosso No. 4 in D Minor, Op. 3: III. Vivace
39. Concerto Grosso No. 5 in B-Flat Major, Op. 3: I. Adagio
40. Concerto Grosso No. 5 in B-Flat Major, Op. 3: II. No Tempo Indication
41. Concerto Grosso No. 5 in B-Flat Major, Op. 3: III. Adagio
42. Concerto Grosso No. 5 in B-Flat Major, Op. 3: IV. Allegro
43. Concerto Grosso No. 6 in E Minor, Op. 3: I. Adagio
44. Concerto Grosso No. 6 in E Minor, Op. 3: II. Allegro-Adagio-Allegro
45. Concerto Grosso No. 6 in E Minor, Op. 3: III. Adagio
46. Concerto Grosso No. 6 in E Minor, Op. 3: IV. Allegro

Francesco Saverio Geminiani (1687-1762), born in Lucca, began his study at an early age with his father, but his most important lessons followed in his years with the great Roman Master, Arcangelo Corelli. Composition lessons with Alessandro Scarlatti helped inspire and solidify his craft. In 1714 Geminiani settled in London, where he quickly gained fame as an ensemble player, concert violinist, and teacher. Here he became friends with Handel and led the orchestra during many performances together. Geminiani enjoyed great success not only in London, but also in Ireland where he spent a considerable amount of time. In 1760 he settled in Dublin, dying there in somewhat impoverished circumstances in 1762.
Geminiani's playing was distinguished by its great expressiveness, richness of dynamic coloring, extraordinary liveliness, and a strong temperament. Tartini tellingly called Geminiani il furibondo” – the furious one!
Among his most significant contributions to the Baroque concerto repertoire are his Concerti grossi Opp. 2 and 3, published in 1732 and 1733 respectively. These sets each consist of six concertos and follow the model established by Corelli, particularly his Concerti grossi Op.6. However, Geminiani’s works are more expansive and harmonically adventurous. They often feature intricate contrapuntal writing and dramatic contrasts between the concertino (the group of solo instruments) and the ripieno (full ensemble), a hallmark of the concerto grosso form.
Op.2 is notable for its lyrical elegance and refined structure, while Op.3 reveals a bolder, more expressive style, perhaps reflecting Geminiani’s growing independence from Corelli’s shadow. These works were not only designed for public concert performance but also for teaching and domestic music-making, showing Geminiani’s skill in balancing artistic depth with accessibility.
Geminiani’s Concerti Grossi were well-received in his time and continued to be admired for their rich textures and expressive power. They exemplify the late Baroque ideal of merging virtuosity with emotional intensity. Today, they remain a staple of early music ensembles, highlighting Geminiani’s role as a key figure in transmitting and transforming the Italian Baroque tradition for an international audience.
Played by the Italian elite group L’Archicembalo, who previously recorded, to great critical acclaim, the String Concertos by Vivaldi for Brilliant Classics.

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