The Concerto Through Time

Part 1: Brandenburg concerto No.5, third movement

1.1: Brandenburg Concertos

• Significance: Some of the most important Baroque compositions.

• Composition Period: Spanning over ten years while Bach was at Köthen, Germany.

• Title: Unofficially called 'six concertos for several instruments'.

• Completion: Finalized in 1721.

• Purpose: Sent to the Margrave of Brandenburg in hopes of employment.

• Outcome: No record of a response from Margrave.

1.2: Johann Sebastian Bach

• Birth and Death: Born in 1685, Germany; died in 1750.

• Family: Came from a long line of musicians.

• Early Life: Taught by his eldest brother after his parents died; initially trained on the violin.

• Career:

  • Successful from a young age, winning scholarships as a chorister, organist, and violinist.

  • Worked mainly as an organist and choirmaster in various churches in Germany.

  • Employed at St Thomas' Church in Leipzig from 1723, composing a cantata for every Sunday service for 17 years.

• Compositions: Wrote over 1000 pieces of music.

1.3: Music in the Baroque Period

• Definition: 'Baroque' comes from the Portuguese word for pearl, reflecting the highly decorated music of the time.

• Employment: Composers were often servants working under patronage for wealthy families, providing music for church ceremonies, parties, and special occasions.

• Characteristics:

  • Ornamentation

  • Contrasting sections (e.g., dynamics from loud to soft)

  • Polyphonic writing

  • Contrapuntal texture

  • Harpsichord continuo

1.4: Harpsichord and Continuo

• Harpsichord:

  • A keyboard instrument where strings are plucked.

  • Sounds tinier than a piano with no sustain pedal.

  • Players add trills to long notes for extended sound.

  • No dynamic contrast possible.

• Continuo:

  • An accompanying part reading the bass line and playing chords to add harmony.

  • Often improvised and decorated.

  • Played by chord-capable instruments like harpsichord, organ, or lute.

  • Chords realized from a figured bass system indicating pitches above a bass note.

1.5: Musical Description

Overview

• Movement: Third and final movement

• Tempo: Allegro (fast and lively dance)

• Structure: Ternary form (A-B-A)

  • A: Bars 1-78 - Fugal exposition

  • B: Bars 79-232

  • A: Bars 233-310

Concerto Grosso

• Type: Concerto grosso

• Groups of Instruments:

  • Concertino: Solo instruments (flute, violin, harpsichord)

  • Ripieno: String ensemble (violin, viola, cello, double bass)

  • Continuo: Harpsichord (cembalo)

Form and Structure

• Time Signature: 2/4

• Rhythm: Gigue-like feel with continuous triplet quavers

• Fugue: Utilizes fugal structure and texture

Fugue Elements

• Subject and Countersubject:

  • Violin: Subject in bars 1-2, countersubject follows

  • Flute: Subject starts in bar 3, countersubject follows

  • Harpsichord: Subject begins in bar 9

• Dynamics: Terraced dynamics (no crescendos or diminuendos, just loud or quiet playing)

1.5.1: Section A (Bars 1-78)

Melody

• Subject: Begins with an anacrusis

• Countersubject: Single detached quavers played on the beat

• Ornamentation: Trills in harpsichord (bars 19 and 21)

Structure

• Subject and Countersubject: Typically two bars long each

• Stretto: Overlapping of subject (e.g., harpsichord in bars 39-40)

Texture

• Counterpoint: Tune against tune, creating polyphonic texture

Harmony and Tonality

• Key: Starts in D major

• Modulation: Moves to A major (dominant of D major), and further modulates back to D major

• Cadences: Perfect cadences punctuate key changes

1.5.2: Section B (Bars 79-232)

Melody

• Variations: Uses variations of the subject

• Motif: Similar to the first bar, transposed to a new key

• Sequence: Harpsichord in bars 114-118, short motif replicated ascending the scale

• Canon: Between harpsichord hands (bar 163)

Harmony and Tonality

• Pedal Note: B in the bass (first beat of each bar)

• Key Change: Moves to B minor (relative minor to D major)

• Harmonic Devices: Includes cadences and pedal notes

Texture

• Homophonic Moments: Bar 155 (all instruments playing together)

• Harpsichord Solo: From bar 163, extended solo passages

Overall Characteristics

• Polyphonic Texture: Predominantly counterpoint

• Ornamentation: Frequent use of trills and other embellishments

• Terraced Dynamics: Sudden shifts between loud and soft without gradual changes

Part 2: Beethoven: Piano Concerto No.1 

2.1: Ludwig van Beethoven

Early Life and Career

• Birth: 1770, Bonn, Germany

• Family: Came from a family of musicians

• Early Compositions: Published three piano sonatas by age 13

• Move to Vienna:

  • 1787: Traveled to Vienna to learn from Wolfgang Amadeus Mozart

  • 1792: Moved permanently to Vienna after his mother’s death to study with Joseph Haydn

  • Conflict: Did not get along with Haydn

• Vienna: Lived there until his death in 1827, aged 57

Independence as a Composer

• Classical Period: Unlike many Classical composers like Haydn, Beethoven did not work for a regularly paying patron

• Support: Financially supported by a small number of noblemen, allowing creative freedom

2.2: Piano Concerto No. 1 in C Major

Composition and Performance

• First Version: Composed around 1795

• Final Version: First performed in 1801, with Beethoven as the soloist

Classical Influences

• Movements:

  • Allegro con brio: Fast and lively

  • Largo: Slow

  • Rondo allegro: Fast

• Contrasting Tempi: Typical structure for a Classical concerto

First Movement

• Feel: Military march-like

• Time Signature: 4/4

• Structure: Sonata form with introduction, cadenza, and coda

• Cadenza: Extended solo passage showcasing key themes in a virtuosic manner

Second Movement

• Key: A♭ major (contrasting key)

• Form: Ternary form (A-B-A)

• Themes: Several themes in the A section, developed in the B section

Third Movement

• Feel: Mischievous and comic, highly energetic

• Rhythms: Syncopated rhythms and irregular phrases

• Cadenzas: Two short cadenzas, with indications for performers, often improvised in modern performances

2.3: Elements of Music

Melody

• Decoration: Uses appoggiaturas and acciaccaturas

• Virtuosity: Rapid scales in solo passages

• Interaction: Call and response phrases between the orchestra

Metre and Tempo

• First Movement: Allegro con brio, 4/4 time, regular phrasing

• Second Movement: Largo, 4/4 time, regular phrasing

• Third Movement: Rondo allegro, 2/4 time, more irregular phrases

Structure

• First Movement: Sonata form

• Second Movement: Ternary form (A-B-A)

• Third Movement: Rondo form

Instrumentation and Timbre

• Soloist: Written for solo piano (pianoforte)

• Orchestra: Accompanies the soloist

Texture and Dynamics

• Texture: Melody and accompaniment

• Homophonic Texture: Phrases with homophonic texture

Tonality and Harmony

• First and Third Movements: C major (tonic key)

• Second Movement: A♭ major (flattened submediant key relative to C major)

Part 3:Brahms: Violin Concerto 

3.1: Johannes Brahms

Violin Concerto in D Major

• Composition: 1878

• First Performance: Leipzig, Germany

• Period: Romantic

• Dedication: Composed for Brahms' friend, violinist Joseph Joachim

Characteristics of the Romantic Period

• Concertos: Common for various solo instruments, with piano and violin being the most popular

• Orchestra: Large, accompanying soloist with expressive and dramatic elements

• Musical Elements:

  • Melody: Rich, emotive

  • Harmony: Complex

  • Dynamics: Highly expressive

Technical Difficulty

• Challenges:

  • Rapid broken chords

  • Scales

  • Double stopping

• Virtuosity: Showcases the soloist’s skill

Cadenza

• Placement: End of the first movement

• Tradition: Last of the composers to allow improvisation; later notated for control

Structure

• Typical Form: Fast-slow-fast

• Influence: Inspired by Beethoven's expanded symphonic form

• Orchestral Introduction: Themes introduced before solo violin entrance

• Third Movement: Rondo form (recurring section similar to a chorus in pop songs)

3.2: Elements of Music

Melody

• Wide Range of Pitches: Creates an emotional sound

• Distribution: Long lyrical melodies sometimes given to supporting instruments

• Phrase Lengths: Varied, unlike the equal lengths typical of the Classical style

Rhythm

• Syncopated Rhythms: Especially in the finale

• Dance-Like Feel: Characteristic of Hungarian folk music

Texture and Dynamics

• Accompaniment: Orchestra provides a rich background to the soloist

• Sustained Notes: Strings create rich harmonies

• Orchestral Motifs: Reflect the solo melody

Structure

• First Movement: Sonata form

• Third Movement: Rondo form

Instrumentation and Timbre

• Solo Instrument: Violin

• Orchestra: Large, supporting ensemble

Tonality and Harmony

• Key: D major for the overall piece

• Second Movement Key: F major (contrasting key)

• Double Stopping: Parallel major thirds on the solo violin

Part 4: Rachmaninov: Piano Concerto No.2 

4.1: Sergei Rachmaninov

Biography

• Birth: 1873, affluent Russian family

• Family Struggles: Father lost wealth, parents separated, lived with aunt

• Early Career: First symphony poorly received, led to depression

• Recovery and Success: After treatment, composed well-received Piano Concerto No. 2

• Death: 1943, USA

4.2: Piano Concerto No. 2 in C Minor

General Information

• Composition: Started at the beginning of the 20th century

• First Performance: Moscow, with Rachmaninov as soloist

• Dedication: To Dr. N. Dahl, who treated Rachmaninov's depression

First Movement

• Key Signature: C minor

• Opening: Sustained chords on piano, intended to sound like church bells

  • Articulation: Tenuto (accent) marks on chords

• Accompaniment: Piano playing broken chords, solo melody by clarinet

  • Interval Leap: Difficult piano part includes a leap of a twelfth

4.3: Elements of Music

Melody

• Solo Melodies: For piano and orchestra instruments (e.g., clarinet)

• Themes:

  • First Movement: Conjunct movement in violins and clarinets

  • Third Movement: Simple, lyrical melody on flute, moving mostly by step

  • Cadenza: Written for the soloist in the third movement

Metre and Tempo

• Metre: 2/2 time signature

• Tempo Changes: Frequent accelerandos and ritardandos

Structure and Tonality

• Form: Standard concerto form with three movements

• Key Signatures:

  • First Movement: Moderato, in C minor

  • Second Movement: Adagio sostenuto, in C minor, modulating to E major

  • Third Movement: Allegro scherzando, in E major, modulating to C minor, finishing on C major

• Sonata Form: Used in the first and third movements

• Bridge Section: Included between the first and second movements

Instrumentation and Dynamics

• Orchestra: Large orchestra with multiple sections for solo piano

• Piano Dynamics: Piano designed for greater dynamic range

Harmony

• Chromatic Chords: Sevenths, ninths, diminished, and augmented intervals enrich harmony

• Dissonant Chords: Add to the climax of the piece

Part 5: Performing and Composing Ideas

Baroque Period (1600-1750)

Composer and Works:

• Johann Sebastian Bach: Brandenburg Concertos

Performing Ideas:

• Instrumentation: Concertino (small group of soloists) and ripieno (orchestra)

• Continuo: Harpsichord or organ playing the bass line and filling in harmonies

• Performance Practice: Ornamentation and improvisation were expected from soloists

Composing Ideas:

• Form: Ritornello form, with recurring themes played by the orchestra alternating with solo episodes

• Texture: Polyphonic and contrapuntal, with intricate interweaving lines

• Harmony: Use of figured bass for continuo parts

Classical Period (1750-1820)

Composers and Works:

• Wolfgang Amadeus Mozart: Piano Concerto No. 21 in C major

• Ludwig van Beethoven: Piano Concerto No. 1 in C major

Performing Ideas:

• Instrumentation: Soloist with orchestra, typically strings, woodwinds, and horns

• Performance Practice: Greater emphasis on clear articulation and phrasing

• Cadenza: Soloist improvises or performs a written-out cadenza

Composing Ideas:

• Form: Sonata-allegro form, ternary form, rondo form

• Texture: Homophonic, with clear melody and accompaniment

• Harmony: Diatonic harmonies, functional chord progressions, and modulation to closely related keys

Romantic Period (1820-1900)

Composers and Works:

• Johannes Brahms: Violin Concerto in D major

• Sergei Rachmaninov: Piano Concerto No. 2 in C minor

Performing Ideas:

• Instrumentation: Soloist with larger orchestras, including more varied and expressive instrumentation

• Performance Practice: Emphasis on expressiveness and technical virtuosity

• Cadenza: Often composed by the performer, showcasing technical prowess

Composing Ideas:

• Form: Expanded structures, often using modified sonata and ternary forms

• Texture: Rich, lush textures with more complex interactions between soloist and orchestra

• Harmony: Chromaticism, extended chords, and modulations to distant keys

20th Century and Beyond

Other Composers and Works:

• Dmitri Shostakovich: Piano Concerto No. 2 in F major

• Samuel Barber: Violin Concerto

Performing Ideas:

• Instrumentation: Soloist with modern orchestra, including new instruments and extended techniques

• Performance Practice: Exploration of new sounds, rhythms, and techniques

• Cadenza: Often notated by the composer, incorporating contemporary techniques

Composing Ideas:

• Form: Diverse structures, incorporating traditional forms with modern innovations

• Texture: Varied textures, including polyphony, homophony, and new experimental textures

• Harmony: Use of atonality, serialism, and other modern harmonic approaches

Summary

• Through time, concertos have evolved in terms of form, texture, harmony, and performance practice. 

• From the intricate polyphony and improvisation of the Baroque period to the expressive and technical demands of the Romantic period, and finally to the innovative and diverse approaches of the 20th century and beyond, the concerto has remained a vital and dynamic genre. 

• Each era has contributed unique performing and composing ideas, reflecting the changing musical landscape and the evolving role of the soloist and orchestra.