The Concerto Through Time
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.
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.
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
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.
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
Type: Concerto grosso
Groups of Instruments:
Concertino: Solo instruments (flute, violin, harpsichord)
Ripieno: String ensemble (violin, viola, cello, double bass)
Continuo: Harpsichord (cembalo)
Time Signature: 2/4
Rhythm: Gigue-like feel with continuous triplet quavers
Fugue: Utilizes fugal structure and texture
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)
Subject: Begins with an anacrusis
Countersubject: Single detached quavers played on the beat
Ornamentation: Trills in harpsichord (bars 19 and 21)
Subject and Countersubject: Typically two bars long each
Stretto: Overlapping of subject (e.g., harpsichord in bars 39-40)
Counterpoint: Tune against tune, creating polyphonic texture
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
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)
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
Homophonic Moments: Bar 155 (all instruments playing together)
Harpsichord Solo: From bar 163, extended solo passages
Polyphonic Texture: Predominantly counterpoint
Ornamentation: Frequent use of trills and other embellishments
Terraced Dynamics: Sudden shifts between loud and soft without gradual changes
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
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
First Version: Composed around 1795
Final Version: First performed in 1801, with Beethoven as the soloist
Movements:
Allegro con brio: Fast and lively
Largo: Slow
Rondo allegro: Fast
Contrasting Tempi: Typical structure for a Classical concerto
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
Key: A♭ major (contrasting key)
Form: Ternary form (A-B-A)
Themes: Several themes in the A section, developed in the B section
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
Decoration: Uses appoggiaturas and acciaccaturas
Virtuosity: Rapid scales in solo passages
Interaction: Call and response phrases between the orchestra
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
First Movement: Sonata form
Second Movement: Ternary form (A-B-A)
Third Movement: Rondo form
Soloist: Written for solo piano (pianoforte)
Orchestra: Accompanies the soloist
Texture: Melody and accompaniment
Homophonic Texture: Phrases with homophonic texture
First and Third Movements: C major (tonic key)
Second Movement: A♭ major (flattened submediant key relative to C major)
Composition: 1878
First Performance: Leipzig, Germany
Period: Romantic
Dedication: Composed for Brahms' friend, violinist Joseph Joachim
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
Challenges:
Rapid broken chords
Scales
Double stopping
Virtuosity: Showcases the soloist’s skill
Placement: End of the first movement
Tradition: Last of the composers to allow improvisation; later notated for control
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)
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
Syncopated Rhythms: Especially in the finale
Dance-Like Feel: Characteristic of Hungarian folk music
Accompaniment: Orchestra provides a rich background to the soloist
Sustained Notes: Strings create rich harmonies
Orchestral Motifs: Reflect the solo melody
First Movement: Sonata form
Third Movement: Rondo form
Solo Instrument: Violin
Orchestra: Large, supporting ensemble
Key: D major for the overall piece
Second Movement Key: F major (contrasting key)
Double Stopping: Parallel major thirds on the solo violin
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
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
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
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: 2/2 time signature
Tempo Changes: Frequent accelerandos and ritardandos
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
Orchestra: Large orchestra with multiple sections for solo piano
Piano Dynamics: Piano designed for greater dynamic range
Chromatic Chords: Sevenths, ninths, diminished, and augmented intervals enrich harmony
Dissonant Chords: Add to the climax of the piece
Johann Sebastian Bach: Brandenburg Concertos
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
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
Wolfgang Amadeus Mozart: Piano Concerto No. 21 in C major
Ludwig van Beethoven: Piano Concerto No. 1 in C major
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
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
Johannes Brahms: Violin Concerto in D major
Sergei Rachmaninov: Piano Concerto No. 2 in C minor
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
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
Dmitri Shostakovich: Piano Concerto No. 2 in F major
Samuel Barber: Violin Concerto
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
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
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.
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.
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.
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
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.
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
Type: Concerto grosso
Groups of Instruments:
Concertino: Solo instruments (flute, violin, harpsichord)
Ripieno: String ensemble (violin, viola, cello, double bass)
Continuo: Harpsichord (cembalo)
Time Signature: 2/4
Rhythm: Gigue-like feel with continuous triplet quavers
Fugue: Utilizes fugal structure and texture
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)
Subject: Begins with an anacrusis
Countersubject: Single detached quavers played on the beat
Ornamentation: Trills in harpsichord (bars 19 and 21)
Subject and Countersubject: Typically two bars long each
Stretto: Overlapping of subject (e.g., harpsichord in bars 39-40)
Counterpoint: Tune against tune, creating polyphonic texture
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
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)
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
Homophonic Moments: Bar 155 (all instruments playing together)
Harpsichord Solo: From bar 163, extended solo passages
Polyphonic Texture: Predominantly counterpoint
Ornamentation: Frequent use of trills and other embellishments
Terraced Dynamics: Sudden shifts between loud and soft without gradual changes
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
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
First Version: Composed around 1795
Final Version: First performed in 1801, with Beethoven as the soloist
Movements:
Allegro con brio: Fast and lively
Largo: Slow
Rondo allegro: Fast
Contrasting Tempi: Typical structure for a Classical concerto
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
Key: A♭ major (contrasting key)
Form: Ternary form (A-B-A)
Themes: Several themes in the A section, developed in the B section
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
Decoration: Uses appoggiaturas and acciaccaturas
Virtuosity: Rapid scales in solo passages
Interaction: Call and response phrases between the orchestra
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
First Movement: Sonata form
Second Movement: Ternary form (A-B-A)
Third Movement: Rondo form
Soloist: Written for solo piano (pianoforte)
Orchestra: Accompanies the soloist
Texture: Melody and accompaniment
Homophonic Texture: Phrases with homophonic texture
First and Third Movements: C major (tonic key)
Second Movement: A♭ major (flattened submediant key relative to C major)
Composition: 1878
First Performance: Leipzig, Germany
Period: Romantic
Dedication: Composed for Brahms' friend, violinist Joseph Joachim
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
Challenges:
Rapid broken chords
Scales
Double stopping
Virtuosity: Showcases the soloist’s skill
Placement: End of the first movement
Tradition: Last of the composers to allow improvisation; later notated for control
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)
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
Syncopated Rhythms: Especially in the finale
Dance-Like Feel: Characteristic of Hungarian folk music
Accompaniment: Orchestra provides a rich background to the soloist
Sustained Notes: Strings create rich harmonies
Orchestral Motifs: Reflect the solo melody
First Movement: Sonata form
Third Movement: Rondo form
Solo Instrument: Violin
Orchestra: Large, supporting ensemble
Key: D major for the overall piece
Second Movement Key: F major (contrasting key)
Double Stopping: Parallel major thirds on the solo violin
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
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
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
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: 2/2 time signature
Tempo Changes: Frequent accelerandos and ritardandos
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
Orchestra: Large orchestra with multiple sections for solo piano
Piano Dynamics: Piano designed for greater dynamic range
Chromatic Chords: Sevenths, ninths, diminished, and augmented intervals enrich harmony
Dissonant Chords: Add to the climax of the piece
Johann Sebastian Bach: Brandenburg Concertos
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
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
Wolfgang Amadeus Mozart: Piano Concerto No. 21 in C major
Ludwig van Beethoven: Piano Concerto No. 1 in C major
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
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
Johannes Brahms: Violin Concerto in D major
Sergei Rachmaninov: Piano Concerto No. 2 in C minor
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
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
Dmitri Shostakovich: Piano Concerto No. 2 in F major
Samuel Barber: Violin Concerto
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
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
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.