The Concerti Grossi, Op. 6, or Twelve Grand Concertos, HWV 319--330, are 12 concerti grossi by George Frideric Handel for a concertino trio of two violins and violoncello and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, in the second edition of 1741 they became Handel's Opus 6. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, they were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances. The concertos were largely composed of new material: they are amongst the finest examples in the genre of baroque concerto grosso.

The arresting dotted rhythms of the opening largo recall the dramatic style of the French overture, although the movement also serves to contrast the full orchestra with the quieter ripieno strings.

The following highly inventive movement is a brilliant and animated allegro, a moto perpetuo. The busy semiquaver figure in the theme, passed constantly between different parts of the orchestra and the soloists, only adds to the overall sense of rhythmic and harmonic direction. Although superficially in concerto form, this movement's success is probably more a result of Handel's departure from convention.

The central third movement, marked Larghetto e piano, contains one of the most beautiful melodies written by Handel. With its quiet gravity, it is similar to the andante larghetto, sometimes referred to as the "minuet", in the overture to the opera Berenice, which Charles Burney described as "one of the most graceful and pleasing movements that has ever been composed".[16] The melody in 3/4 time and E major is simple and regular with a wide range with a chaconne-like bass. After its statement, it is varied twice, the first time with a quaver walking bass, then with the melody itself played in quavers.

The fourth movement is a brief largo, like an accompanied recitative, which leads in to the final allegro fugue. Its gigue-like theme is derived from a fugue of Friedrich Wilhelm Zachow, Handel's boyhood teacher in Halle, to whom the movement is perhaps some form of hommage.

Although originally written for a small String Chamber orchestra, I created this arrangement for Clarinet Quartet (3 Bb Clarinets and Bass Clarinet) & String Bass.