The most unusual element of Corelli's sixth concerto grosso, in the church-sonata format, comes right at the start. The customary slow introduction, here a chordal Adagio, is so extensive and features such extreme dynamic contrasts that Corelli treats it as a separate movement. Even so, it ends on the expectant dominant, leading to a fugal, bustling Allegro, which is introduced by the concertino group. The solo cello and ripieno viola introduce a D minor Largo; after these initial bars, the movement allows very little freedom for solo players; the ensemble's sections enter in strict imitation. The Vivace employs a gigue rhythm, although Corelli doesn't mark the movement as such; with rapid figurations, it alternates the concertino group with the full ensemble. Similarly, the concluding Allegro has the feel of a dance, and also has plenty of back-and-forth conversation between the soli and tutti.

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