Concerto Grosso Analysis
Before concerto grosso took form, it had a series of predecessors that morphed over time to finally become what we recognise today as concerto grosso. The first of these predecessors was the trio sonata – a work composed for two violins and cello. Trio sonatas were composed in the style of da chiesa (to be performed in the church) or da camera (to be performed in the courts of noblemen and aristocrats). Trio sonata evolved into solo sonatas where a solo instrument such as violin, flute, oboe or cello would perform whilst being accompanied by two violins and continuo. What rose from the solo sonata was the separation of the soloist and the accompanying string group in the ensemble (referred to as ripieno and concertino respectively). This provided
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for the music to alternate between the opposing sections and be performed in a contrasting manner. The concerto grosso included extra string instruments to double up the ripieno parts as well as a group of soloists to perform virtuosic solos, rather than one soloist like in solo sonata. The continuo was never left out of the ensemble as it provided the harmonic foundations of the music. Early form of concerto grosso used by composers like Corelli was based around several movements as per the sonata da chiesa or camera, or a combination of the two. Later, the concerto grosso used ritornello form. Ritornello is the form that was the predecessor to rondo, which makes the two very similar. It is the common form of the concerto grosso, and is structured so that the full orchestra (ripieno) plays the main theme and ideas, while the group of soloists provide new material in the episodes. The ripieno then restates the first ideas again before a new soloist begins a new episode.
Basic Visual Structure of Ritornello Form: Ritornello Episode Ritornello Episode Ritornello Episode Ritornello
(Main Themes) (Solo 1) (Main Themes) (Solo 2) (Main Themes) (Solo 3) (Main Themes)
Because concerto grosso took flight in the baroque period (c1600-1750), the baroque style influenced the construction of concerto grosso compositions (through the elements of music). However as time progressed and composers experimented with their compositions, the concerto grosso continued to develop.
The Brandenburg Concertos
The Brandenburg Concertos are a set of 6 famous concertos written by J.S Bach sometime between the years 1711 and 1721. The six concertos fit the concerto grosso genre and all movements except the third and sixth feature a variety of soloists with orchestral accompaniment. Bach was employed as Kapellmeister at the court of Prince Leopold in Cothen. During Bach’s time there he composed some of his best instrumental works and had many performed by the Prince’s highly skilled and professional orchestra. Bach’s time working for the Prince was relatively free of issues. That was however, until the Prince married his cousin, Princess Anhalt-Bernburg. It was reported she did not like music, and Bach disliked her without question. He became very unhappy and wished to leave so on March 24, 1721 he sent a ‘job application’ to the Margrave of Brandenburg in the hope that he could be employed by him. Bach sent the collection of six works which were assembled from his existing library of compositions along with a letter. However, the letter and the six concertos were never acknowledged by the Margrave and it was likely that that they were never performed there.
Bach was influenced by several composers of concerto and Italian and german styles of writing came together in the production of the six Brandenburg Concertos. Bach was influenced by the Italians and the normality of copying other composer’s works and arranging them himself. He copied concertos by Vivaldi and arranged them for harpsichord or organ as well as rearranging harmonies and adding inner voices. He used themes by Corelli as the basis for his fugues and from Vivaldi he learnt how to clarify and refine his own composition. He learnt to write more concise themes, clarify the harmonic structure and develop subjects using imagination and continuous rhythmic flow. His grand works that we associate with Bach today were produced through the culmination of imaginative composing techniques including the use of counterpoint. Counterpoint and the abundance of instrumental colour were used to transfigure the typical baroque musical features. Bach adopted the fast-slow-fast order of Italian concerto movements while implementing the steady driving rhythms and ritornello forms of the allegro. From Bach’s influences, his works became a fusion of German and Italian styles while maintaining the typical baroque characteristics.
Bach’s Brandenburg Concertos are contrasted to the works of other composers such as Corelli.
Because of the influence on Bach from composers such as Corelli who helped cement the concerto grosso, it is evident in Bach’s Brandenburg Concertos that characteristic elements are stylistic of both composers. Some of these things that can be found in both Bach’s and Corelli’s compositions included: the cycle of 5ths chord progression, the resemblance between Bach’s concertino passages and Corelli’s trio sonatas, use of imitation and the strong sense of tonality through the use of sequences. However, The Brandenburg Concertos include many unique elements by Bach that separated his works from other composers such as Corelli and Handel and in a way separating himself from the restraints of Baroque style. Brandenburg No. 2 is more modern and sophisticated. In movement 1 Bach includes a trumpet. His addition of the trumpet contrasts to the instrumentation of concertos by other composers like Corelli who preferred strings. Bach also included six subjects, modulations in the episodes which convey the virtuosity of the concertino soloists, and the use of stretto (form of polyphony where voices overlap). In the 2nd movement he reduced the size of the orchestra by taking away the trumpet leaving three concertino instruments plus continuo. Bach’s complex construction of this movement sets him apart from other composers. There is not a set form however he utilises polyphony, imitation and call and response between instruments. The use of tierce de picardi gave a uniqueness to the 2nd
movement.
for the music to alternate between the opposing sections and be performed in a contrasting manner. The concerto grosso included extra string instruments to double up the ripieno parts as well as a group of soloists to perform virtuosic solos, rather than one soloist like in solo sonata. The continuo was never left out of the ensemble as it provided the harmonic foundations of the music. Early form of concerto grosso used by composers like Corelli was based around several movements as per the sonata da chiesa or camera, or a combination of the two. Later, the concerto grosso used ritornello form. Ritornello is the form that was the predecessor to rondo, which makes the two very similar. It is the common form of the concerto grosso, and is structured so that the full orchestra (ripieno) plays the main theme and ideas, while the group of soloists provide new material in the episodes. The ripieno then restates the first ideas again before a new soloist begins a new episode.
Basic Visual Structure of Ritornello Form: Ritornello Episode Ritornello Episode Ritornello Episode Ritornello
(Main Themes) (Solo 1) (Main Themes) (Solo 2) (Main Themes) (Solo 3) (Main Themes)
Because concerto grosso took flight in the baroque period (c1600-1750), the baroque style influenced the construction of concerto grosso compositions (through the elements of music). However as time progressed and composers experimented with their compositions, the concerto grosso continued to develop.
The Brandenburg Concertos
The Brandenburg Concertos are a set of 6 famous concertos written by J.S Bach sometime between the years 1711 and 1721. The six concertos fit the concerto grosso genre and all movements except the third and sixth feature a variety of soloists with orchestral accompaniment. Bach was employed as Kapellmeister at the court of Prince Leopold in Cothen. During Bach’s time there he composed some of his best instrumental works and had many performed by the Prince’s highly skilled and professional orchestra. Bach’s time working for the Prince was relatively free of issues. That was however, until the Prince married his cousin, Princess Anhalt-Bernburg. It was reported she did not like music, and Bach disliked her without question. He became very unhappy and wished to leave so on March 24, 1721 he sent a ‘job application’ to the Margrave of Brandenburg in the hope that he could be employed by him. Bach sent the collection of six works which were assembled from his existing library of compositions along with a letter. However, the letter and the six concertos were never acknowledged by the Margrave and it was likely that that they were never performed there.
Bach was influenced by several composers of concerto and Italian and german styles of writing came together in the production of the six Brandenburg Concertos. Bach was influenced by the Italians and the normality of copying other composer’s works and arranging them himself. He copied concertos by Vivaldi and arranged them for harpsichord or organ as well as rearranging harmonies and adding inner voices. He used themes by Corelli as the basis for his fugues and from Vivaldi he learnt how to clarify and refine his own composition. He learnt to write more concise themes, clarify the harmonic structure and develop subjects using imagination and continuous rhythmic flow. His grand works that we associate with Bach today were produced through the culmination of imaginative composing techniques including the use of counterpoint. Counterpoint and the abundance of instrumental colour were used to transfigure the typical baroque musical features. Bach adopted the fast-slow-fast order of Italian concerto movements while implementing the steady driving rhythms and ritornello forms of the allegro. From Bach’s influences, his works became a fusion of German and Italian styles while maintaining the typical baroque characteristics.
Bach’s Brandenburg Concertos are contrasted to the works of other composers such as Corelli.
Because of the influence on Bach from composers such as Corelli who helped cement the concerto grosso, it is evident in Bach’s Brandenburg Concertos that characteristic elements are stylistic of both composers. Some of these things that can be found in both Bach’s and Corelli’s compositions included: the cycle of 5ths chord progression, the resemblance between Bach’s concertino passages and Corelli’s trio sonatas, use of imitation and the strong sense of tonality through the use of sequences. However, The Brandenburg Concertos include many unique elements by Bach that separated his works from other composers such as Corelli and Handel and in a way separating himself from the restraints of Baroque style. Brandenburg No. 2 is more modern and sophisticated. In movement 1 Bach includes a trumpet. His addition of the trumpet contrasts to the instrumentation of concertos by other composers like Corelli who preferred strings. Bach also included six subjects, modulations in the episodes which convey the virtuosity of the concertino soloists, and the use of stretto (form of polyphony where voices overlap). In the 2nd movement he reduced the size of the orchestra by taking away the trumpet leaving three concertino instruments plus continuo. Bach’s complex construction of this movement sets him apart from other composers. There is not a set form however he utilises polyphony, imitation and call and response between instruments. The use of tierce de picardi gave a uniqueness to the 2nd
movement.