Unit 3: Concerto Grosso

Question 1

Concerto Grosso background and origins

Answer 1

• “concerto” from Latin concertare “to debate, or collaborate”
• in Italian, concertare means “to reach agreement”
• original use of word concerto in music was reference to mixed vocal and instrumental ensembles, to differentiate from a cappella singing
• developed in 17t-century Italy
• originally work for instruments and/or voices based on principal of contrast

Question 2

Concerto Grosso characteristic features

Answer 2

• multi-movement work for soloist(s) and orchestra
• generally in 3 mvts: fast-slow-fast
• there were 2 types of concertos in Baroque era
• solo concerto (single soloist) and concerto grosso (Group of soloists)
• principal of contrast (between soloist(s) and orchestra) is exploited
• in Baroque concertos: outer mvts usually employ ritornello form

Question 3

(concerto)

Answer 3

• multi-movement orchestral work
• based on principal of contrast
• usually 3 mvts (fast-slow-fast)
• in Baroque era: 2 types: solo concerto and concerto grosso
• display virtuosity of soloist(s) (prominent feature in solo concerto)

Question 4

concerto grosso

Answer 4

• Baroque orchestral work
• usually 3 mvts (fast-slow-fast)
• group of solo instruments called concertino is showcased

Question 5

concertino

Answer 5

-small group of solo instruments featured in concerto grosso of Baroque era

Question 6

ripieno

Answer 6

• Italian for “full” or “complete”
• also called tutti
• term used to denote use of full orchestra in Baroque concerto

Question 7

ritornello form

Answer 7

• structure often employed in 1st and 3rd mvts of Baroque concerto
• opening passage (ritornello) restated throughout mvt: serving as refrain

Question 8

Essay on the True Art of Playing Keyboard Instruments

Answer 8

• published 1753
• important primary source documents on Baroque performance practice
• practical guide to all aspects of keyboard performance
• includes chapters directly related to keyboard playing (fingering, figured bass) and those that apply to all instruments (embellishments, improvisation, harmony, and counterpoint; general approaches to performance and musicianship)
• CPE Bach’s treatise