Graupner Concerto Grosso

CHRISTOPH GRAUPNER
Edited by John E. Lindberg
CONCERTO GROSSO
due oboi, violini, viole, bassi e continuo
EN 009
OR 002
Christoph Graupner
(1683 - 1760)
Christoph Graupner was a contemporary of J.S. Bach, G.F.Hndel, and G.P. Telemann. He was
active as Kapellmeister at the Darmstadt Court from 1712 until his death in 1760. Graupner was
a prolific composer who wrote hundreds of works in various genres including keyboard music,
orchestral music (concerti, suites and symphonies), cantatas and operas. He enjoyed the respect and
high esteem of his contemporaries. When the position of Kantor at the Thomaskirche became
vacant in 1722, Graupner was actually given preference over Johann Sebastian Bach by the city
council. However, Ernst Ludwig, his employer in Darmstadt, offered to increase his salary and
Graupner turned down the position. Following his death, his heirs and the Darmstadt Court
entered into a lengthy legal dispute. By the time it was resolved, musical tastes had changed so
dramatically that there was no longer interest in the publication of his scores.
John E. Lindberg
1997
Concerto grosso
due oboi, violini, viole, bassi e continuo
OR 002
Christoph Graupner (1683-1760) was a prolific composer who wrote a number of works for wind
instruments. The Concerto grosso for two oboes (ca. 1730-32) is one of two such works found in
theHessische Landes- und Hochschulbibliothek in Darmstadt. It is remarkable not only for the
choiceof solo instruments, but also for the character of each of its three movements.
In the first, Vivace, the principal motif is a forceful fanfare-like two measure gesture balanced by
twofurther measures of a running melodic pattern. This is developed through related keys of the
firstsubject. The second subject contrasts in mood, reflecting an earlier contrapuntal style in its
question and answer manner, ending in the dominant. This returns to a concluding repetition of
the first subject.
The second movement, Largo e giusto, is more somber in mood beginning in G minor with a
majestic dotted rhythm in the strings. It is developed contrapuntally to its conclusion in F major.
Here, the oboes are more frequently independent of each other than they are in the outer
movements, in which they tend to play in parallel thirds. Performers of the time would have
embellished the solo parts freely or where written symbols indicated. In this edition, such symbols
have been written out in full. However, performers remain at liberty to interpret ornamentation
accordingto their own wishes.
The third movement is a witty rondo marked Allegro. The oboes are in parallel thirds constantly
exchanging motives antiphonally with the strings and continuo.
The following alterations have been made from the original score in Darmstadt (Mus. ms.
411/30, Concerto grosso per due oboi, violini, violi, violoncelli e continuo, ca. 1730-32): First
movement, m. 17,Violins I and II have been exchanged; mm. 24-25, viola, the second note in
both measures was originally an eighth note; m. 100, Violin I, the first note was originally a
quarter note; thirdmovement, m. 47, Viola, the last note was originally G; m. 94, Oboe II, the
two notes of thismeasure were originally eighth notes (each followed by an eighth rest).
All other alterations to the original score have been placed in brackets. The continuo part has been
realized simply; the performer should feel free to alter it or add to it as (s)he feels is appropriate
(note that the original part is unfigured). The violoncello part may be doubled by string bass
and/orbassoon, as required, to balance the upper parts.
Graupner's identification of instruments at the top of the score was originally in a mixture of
languages (French hautbois, Italian 'cembalo), which implies his awareness of the traditions of
contemporary music. As was the norm in the early XVIII century, he probably considered the
origins of these instruments when naming them: the oboe being French and the strings Italian
initially, etc. For the sake of uniformity and maintaining the general practice of the time, I have
maintainedItalian throughout.
The editor would like to thank the Hessische Landes- und Hochschulbibliothek Darmstadt for
theirpermission to publish this work.
John E. Lindberg
1997
Amoris International publishes a series of French Baroque music entitled
Les Tableaux galants.

Works by Louis de Caix dHervelois and Marin Marais have been recorded on the Amoris
International label.
The Oboe damore Collection Volume I (AI SC VI)

Jennifer Paull, Oboe damore
Christine Sartoretti, Harpsichord
Stefano Canuti, Bassoon
www.amoris.com
CONCERTO GROSSO
Christoph Graupner (1683-1760)

ed. John E. Lindberg
Vivace [ q. = 72 ]
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Continuo
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AI OR 002
Copyright Amoris International

www.amoris.com
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Cont.
Bs.
&
&
bb
bb
n
.
p .
. .
p .
bb
? bb
? bb
AI OR 002
&
. .
.
3
. .
n
.
.

.
n
.j

.
j

.
j

.
j
.
j
.
B bb
n . .
.
. .

. .
. . . .
.
.. .. J. J
[f]
.
.. .. J J
[f]
.
.. .. J.
J
[f]
.
.. .. J.
J
[f]
. n .
.. .. J J
. .
J
J
. .
J
J
.
.
J
J
.
.
J
J
.
.
J
J
j
.. .. j n
.
..
.. .. J J
.
.
.. .. J J
j
j

.
.
J .
J
.
J .
J
f]
f]
.
n
J
.
n
J
.
n
J
.
n
J
.
J
.
J
.
J
.
J
.
J
.
J
j
n
..
J
.
J
j

.
j
n .
j
n .
22
40
Ob. I
Ob. II
Vln. I
Vln. II
Vle.
Cont.
Bs.
&
b
&b
Ob. II
Vln. I
Vln. II
Vle.
Cont.
Bs.
.
.
.
n .
b . . . .
b
&
b . . . .
b
&
b
B b J n j
.
j
b j
& b
.
n .
j
? bb j
.
.
? b j j
b .
.
45
Ob. I
bb
&
bb
b
&b
AI OR 002
# n .
.
. .
f
b n .
b
&
.
.
B bb
J
? b .
b
? b .
b
b n .
b
&
b
& b ..
. .
j
.
j
n .
j
n .
. .
. . b
. .
. . b
. .

b
. .
. .

. .
. .

. .
.
n
.
n
.
.
n .
.
.
.
J
. .
. .
. .
. .
n .
.
J J
j
.
. n .
J
. n .
J
n
. . .
. . .
3
. .. n ..
. . .
23
50
Ob. I
Ob. II
Vln. I
Vln. II
Vle.
Cont.
Bs.
&
bb
b
&b
Ob. II
Vln. I
Vln. II
Vle.
Cont.
Bs.
. . .
bb
bb
B bb
&
&
b
&b
n J

? bb
? b
b
..
bb J
&
bb J.
&
.
bb J
&
.
bb J
&
55
Ob. I
3
.. .. n ..
..
J
.
J
.
J
.
.
B b b j J
.
b j
j
& b .
.
? b . .
b J
J
.
? b b .
J
J
AI OR 002
.
j
.
.
. # .
. . # .
. j
J
.
j
# j
.
.
.
j

J
.
.
j
J
.
..
J
.
J
.
J
.
J
.
J
j
n .

.
J
.
. .

. .
..
J
.
J
.
.
J
.
.
J
j
.
j

.
.
J
.
J
..
J
.
J
..
J
.
J
.
J
.
J
.
J
.
J
.
J
.
J
j
j

.
.
.
j
J
.
.
j
J
.
. .
.

J
.
. .
j

#
. .
# .
24
61
Ob. I
Ob. II
Vln. I
Vln. II
Vle.
Cont.
Bs.
&
b
&b
&
Ob. II
&
Vle.
Cont.
#
.
J
.
J
b
& b ..
? b .
b
? b .
b
Ob. I
Vln. II
. .
b #
.
b
&
.
. .
.
#
&
# .
B bb .
67
Vln. I
bb
.. ..
.
J
.
J
.
bb
bb
n .. # .. .. ..
# . . . .
.. ..
..
J
j
.
.
. .
.
.
n .
.
.
n . .
n .
J
n .
J
.
J
..
.
.
bb n n n . . n
&
bb n n n . . n
&
. # . . .
.
.
.
# .
J J J J
B bb
&
bb
n . #
.
? b #
b . .
? b #
b . .
Bs.
AI OR 002
.
.
.
j j j # j
.
n .
n .
..
.
j
# j
J
J
.
.
.
.
j
# j
J
J
.
.
.. .. .. ..
. . . .
# n # n
# n # n
. . . .
. . . .
. . . .
. . . .
.. ..
.. ..
..
..
n ..
. .
. n . #
. 3 .
.
n
j

.
.

J
.

J
j
#
n .
.
J
.
J
25
73
Ob. I
Ob. II
Vln. I
Vln. II
Vle.
Cont.
Bs.
&
bb
b
&b
3
3
.
bb
n # .
&
3
3
.
bb n # .
&
.
. .
b
n .
Bb
b
&b
? b
b
? b
b
b
& b ..
b
& b ..
77
Ob. I
Ob. II
Vln. I
Vln. II
Vle.
Cont.
Bs.
b
& b ..
p
? b b .. n
? b b .. n
AI OR 002
B b b ..
. n .
..
..
..
. .
n .
.
J
p
j
.
p
.
J
.
J
.
J
.
n J
j
.
.
n J
.

J
.
J
j
j

n .
.
j
. j
.
j
. j
.
..
3
n . 3 .
#
b
& b ..
F b
& b .. n
p
..
..
.
n J
.
#
J
..
..
..
..
#
n
26
.
bb J
&
b .
b
& J
bb J.
&
83
Ob. I
Ob. II
Vln. I
Vln. II
Vle.
Cont.
Bs.
b . .
b
& J
J
.
.
B bb J J
j
b j
& b
.
.
.
? b b j
J
.
.
? b j
b J
.
Ob. II
Vln. I
Vln. II
Vle.
Cont.
Bs.
. N .
..
b
&b
b .
b
&
B bb
b
& b
? b
b
? b
b
AI OR 002
n .
n .
J
j
n
b
&b
b
&b
89
Ob. I
.
J
.
J
.
J
.
..

J
J
j j
.
.
. . .
J
J
j j
.
.
.
j
J
.
j
j

.
.
.
.

J
J
.
.

J
J
.. ..
.. ..
. .
. .
27
&
bb
&
bb .
b
&b
95
Ob. I
Ob. II
Vln. I
Vln. II
Vle.
Cont.
Bs.
b
&b
? bb
&
Bs.
b
& b
? bb
Ob. II
Cont.
&
Vle.
Ob. I
Vln. II
B bb
100
Vln. I
bb
bb
b
&b
b
&b
B bb
.
. .
.
. .
.
. .
3
b

&b
? b
? b
. . .
3
.
. .
.
.
.
. . 3 .
.
. .
. . .
.
. .
.
.
. .
f

28
b
&b
b
&b
105
Ob. I
Ob. II
Vln. I
Vln. II
Vle.
Cont.
Bs.
Ob. II
Vln. I
Vln. II
Vle.
Cont.
Bs.
. . . .
. .. .. ..

. . . .
& b
& b
. . . .
. . . .
Bb
b . . .
&b
. . .
? b
b
. . .
? b
b
.
.
&
&
bb
b . . . .
&b
. . . .
. . . .
. . . .
bb . . .. ..
111
Ob. I
. . . .
.. .. 3 ..
. .
.

bb
.
3 3 .
.
3
3 .
B bb
&
b j
b
&
.
? b j
b .
? b j
b .
j

.
.
J
.
J
.
. . . J
J
J
J
j
j
j j
.
.
.
.
.
.
.
.
J J J J
.
.
.
.
J J J J
..
J
.

J
.. ..
. .
..
..
..
..
.
3 3 .
..
..
..
..
Oboe I
CONCERTO GROSSO
bb 6 . . .
& 8
Vivace [ q. = 72 ]
&
bb
.
pp
bb
&
14
bb
&
18
pp
pp
b
b
&
22

& b
27
pp

b j
&
31
AI CM 002

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Oboe I

&b
36
pp
b
b
&

39
pp
b n
b
&
43
bb n
&
49
bb n
&
54
Fine
b

&b

p
58
b .
&b
63
~~ j
. J J j
J
J
J
f
bb J .
&
J
J
J
J
69
b
& b .
74
AI CM 002

J
J
J
J
J
Oboe I
b . # J
b
&
79
. # n #
n
n
J
J
J J
J J
bb n J J J
&
J
85
bb n J J J
&
J
J
J
91
b
& b J j
97
b
& b 44
n .
D.C. al Fine
II
. . . .
bb . . n . . . . n . . .
&

(eco)
b
b
&
8
11
&
bb
. . . n . . #
. n
J
b
n
& b
15
rit.
AI CM 002
Oboe I
III
b
& b 42
11
&
. . . . . .
. . . .
bb
. .
. .
. .
.
. . .

J
bb .. . J. . . n . J.
J J
&
J
J
37
&b
44
. . n .
.
bb J .
&
J
55
63
&
bb
. . n .
. .
. . .
. . . .
.
.
bb
n
&
71
AI CM 002
. n . . .
. . .
n
..
3
. .

. .
. .
.
..
. . .
J
.
. . . .
. . . .
. . . . . . n . . j . . .
J J JJ J J
J
.
&b
&
..
bb
20
29
Allegro [ q = 120 ]
..
. .
n
.
. J
. .
J J J
.
. .
J
.
n . # . . .
..
Oboe I
b
& b ..
77
b
&b
85
. n J. #
J
. J.
#
J
. .
.
.

J J
. .
. .
. . . . .
.
b

&b
103
. . . .
.
bb . . . . . .
&
. . .
AI CM 002
111
&b
. . . .
..
Oboe II
CONCERTO GROSSO
Vivace [ q. = 72 ]
b .
& b 68
f
b
&b
9
.
pp
& b n n
14
& b #
18
& b
22
b
& b # n
27
pp
b
& b j #
31
AI CM 002

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Oboe II
b
& b n
36
pp
b
& b n n
39
pp
b n
b
&

43
& b n n n
49
54
&b
Fine
U
bb
&

p
58
b
& b .
63
~~
j
. # j j # j n
J
J
J
f

& b n J J n J J n J . n
69
b
& b .
74
AI CM 002
j j j j j
Oboe II
b . j
b
&
79
. j
n . # J n # J J n # J J
b n # n J j
b
&
J
J
85
b j j j j
b
&
J
J
91
j
b
& b j n n n j .
D.C. al Fine
97
II
b 4
&b 4
1
. . . # .
b
& b .n . . n . .
(eco)
b
&b
b
&b
12
15
&
bb
AI CM 002
w
#. n. .
n . . n . # . J n
. n n .
# n .
rit.
Oboe II
III
Allegro [ q = 120 ]
b
& b 42
11
&
20
&
bb
&b
29
37
&
bb
b
&b
44
..
. . n . . j . . .
J J J J J J J
. . . .
.

. . . .
j
. . .
. . . . n . .
.
. .
. .
. .
. .
j
.
.
bb . n . # . # . n . .
&
71
AI CM 002
n . . . .
3
.
bb J . j
&
J .
b . . .
b
&
J
. .
.
.
.
.
.. J J J n J
J
J
f
. . . .
55
62
.
.
. . . .
bb
. .
. .
n . .
. . . . n . .
.
3
..
# n .
.
.
. .
. J

J J J
. .
j
#
. . # .
. . . .
# . . . .
. . n .
#
..
..
b
& b ..
77
b j . j
b
& .
.
Oboe II
j j
. . n
p
93
bb . . . . . .
&
103
. . . .
. .
J
J
. .

f
bb . . . . . . .
&
111
AI CM 002
. . .
8
3
2

. . . .
..
1
Violini I
CONCERTO GROSSO

Vivace [q. = 72 ]
& b 68
&
bb
f]
b
b
&
pp
pp
&b
14
pp

#
&b
18
pp
b
&b
22
b
b
#
&
27
AI OR 002
pp

www.amoris.com
Violini I
b
b
&
32
b
& b n
36
f]
J J n J J J
& b
41
j
b
J
J
J
J
J
&b
47
J
J

b

JJ
&b
52
&b
58
63
&
bb
. .
pp
# . .
b
&b

68
pp
.
b

&b J
73
AI OR 002
# . .
#
J
Fine
U
#
J
n
J
J
pp
n
J
J
2
2
Violini I
79
&b
84
&b
b
b
..
. . .
.
.
.
.
.
n

.
# . j # J
.
.
.
.. .. ..
. . .
. . . .
. .. .. ..
2
J
J
J
J
.. .. ..
.. . .
. . .
. . .
.. .. ..
n J
b J
J
J
b
&
90
. . .
. . . . . .
b
J J
&b J
95
D.C. al Fine
. .
J
J
II
Largo e giusto [q = 45]
b
& b 44
1
[ ]
b
&b
3
b
b
&
5
b
&b
AI OR 002
. j
.
n . # .
J
n # .
Violini I
b
&b
10
12
&
bb
n
#
n n
b

& b n .
# n
14
b
& b
16
n w
rit.
III
.
.
.
3
b 2
b
& 4
Allegro [q = 120]
f]
. . .
3
. . .
3
.
.
.
.
.
.
b

j
J n J J
& b J
J
. . .
J
.
.
12
21
&
b
n
b
2
b
b
27-28
&
AI OR 002
2 . n .
3
n
.
.
p
..
Violini I
. .
. . . . . . .
.
b
J J J n J J
& b .. J
37
f]
. .
.
.
.
& b n
47
. . .
.
#
&b
61
. b .
.
.
. . J. . J. . . . . # . 4
J
J
J
J
. . .
n . # n # n
.
.
b
n
&b
67
3
. 3 .
b n #
&b
73
3 n . 3 # .
77
&b
b
b
&
84
&b
b
& b .
AI OR 002
.
.
n
n J #
..
J
J
J
- n -
F
# . N . n . n .
.
90
96
..
.
.
. .
- -
. .
J J
. .
.
. .
f
.
. . . . .
3
Violini I
b
b
&
105
bb
111-112
&
.
3
3 .
.
3
3 .
[
AI OR 002
..
1
Violini II
CONCERTO GROSSO


b 6

& 8
f]
&b
5
pp
b
&b

pp
b
n
&b
13
b

& b n
17
pp
pp
&
#
21
pp
26
&b
AI OR 002

www.amoris.com
Violini II
b
&b
31
b
b
&
n n
[f]
36
j
b

& b n J J J J j
41
b j n n J
b
& J
J
J
J
J
47
b J j
&
J
53
& b
59
. .
b
& b
63
b
b
&
69
b
&b
75
AI OR 002
pp
J #
pp
J n
pp
# . .
#
J
71-72
J n
U Fine
# . .
.
n n
J
77-78
Violini II
b
b
&
.
# . j
.
.
.
. . .
. . . .
2
b
J
J
&b
79
84
85-86
. . .
. # . . n . . . .

J
.. .. .. .. .. .. .. .. .. ..
J
J
J
..
..
.
.
..
b
j
& b J .. .. J . . J . . J . . .
91
b
& b .j j . .
.
96
. j
J
.
D.C. al Fine
II
b
& b 44
1
[p ]
b
&b
b
&b
b
&b
8
AI OR 002
. j
n # .
Violini II
10
&
12
&
bb
bb
n
#
n n
b
& b n .
b
& b
n w
14
# n

16
rit.
III
. . .
b
2
&b 4
1
f]
2-4
.
. . . . .
b .
b
&
J
11
17
&
bb
18-20
AI OR 002
. n .
J J
.
j
J .
. .
J J
j
.
n n
n . .
.

b
&b
24
7-8
27-28
Violini II
bb
31-32
&
. .
. .
.
J
b n .
b
& J
39
. . .
.
.
& b n
. # .
.
b
&b
56
57-60
f]
. .
J
J
.
.
J
.
# . . .
. b .
.
.
41-44
49-52
.
. .
.. .. J
J J J
. .
.
p .
4
. . . .
47
. .
J J
. .
n . .
n . .
b
n
& b #
65
n
b
&b
70
71-72
b
& b .. n
3
n . 3 # .
. .

J J
77
b
&b
85
b j j
b
& . .
93
AI OR 002
n
. . . .
. .
J J
. . .

98-100
..
Violini II
. . . . . .
b
&b
101
103-104
&b
107
bb
111-112
&
.
3 3 .
AI OR 002
..
1
Viole
CONCERTO GROSSO

I
Vivace [ q. = 72 ]
b
6
Bb 8
f]

Bb
pp
11
B bb

pp
16
B bb
pp
pp
21
B b b J J
pp
26
B b b J
J
[
31
B b b J J J
f
AI OR 002

www.amoris.com
Viole
36
B bb
J
[
f]
n
j
j
b
Bb
J J
41
n J
b
Bb J
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16
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1
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Graupner Concerto Grosso

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Graupner Concerto Grosso

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CHRISTOPH GRAUPNER

Edited by John E. Lindberg

Amoris International publishes a series of French Baroque music entitled

Les Tableaux galants.

The Oboe damore Collection Volume I (AI SC VI)

Christoph Graupner (1683-1760)

pp] indicates a single player.

Copyright Amoris International

ed. John E. Lindberg

Copyright Amoris International

Copyright Amoris International

Christoph Graupner (1683-1760)

pp] indicates a single player.

Copyright Amoris International

Christoph Graupner (1683-1760)

pp] indicates a single player.

Copyright Amoris International

Largo e giusto [q = 45]

Christoph Graupner (1683-1760)

pp] indicates a single player.

Copyright Amoris International

Christoph Graupner (1683-1760)

Largo e giusto [q = 45]

Christoph Graupner (1683-1760)

pp] indicates a single player.

Copyright Amoris International

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