What is the concerto principle?

  In your answer describe the principle itself as well as the origins

of the idea (historically, geographically, genres that preceded it, etc.) and its eventual
solidification into the concerto genre.  Be sure to mention any different types of concerti as well
as key players in the development of the genre. 

The concerto principle is entrenched in the conception of the Fichtean thesis-antithesis-

synthesis. Through opposition between the “solo” voice and the accompanying ensemble,

composers can more easily play with the conceptions of playing together, playing against, and

playing alone. While early forms of the concerto during the Baroque era were not reliant on the

existence of a “concerto soloist,” such as in the concerto grosso of Arcangelo Corelli – the

central conception of division was present. Italy was the bastion of most developments of the

early concerto form, through the aforementioned Corelli, and its eventual formal blooming

through Vivaldi. Bach, in his “mixed style” also explored the concerto grosso forms, most

famously in his Brandenburg Concerti.

The modern form of the concerto, where the soloist was reduced to a singular instrument,

can be handed to Vivaldi and Locatelli. The virtuosity inherent in some of these violin parts, and

the clear oppositions between the ritornelli of the orchestra and the solo playing of the orchestra

allowed for a clear creation of a formal precedent. Most of these Baroque compositions were for

string instrument, especially the violin. The classical era was were the concerto “genre” was truly

fortified, with the transition works by C. P. E. Bach, the 5 violin Concerti of Mozart, and the 2

Cello Concerti of Haydn. These works were codified by their tonal structures and embracing of

sonata form. Often times, the last movements were Rondos.

Concerto Form.  Describe some important aspects of concerto form, including an outline of the
basic structural sections of the form.  How did the form develop from ritornello procedure?
Include one or two examples of composers (post-Baroque) who stretched the boundaries of the
form as discussed in class. 

The oppositional precedent between the ritornelli and solo instrumental playing from the
Baroque concerti of Vivaldi are what truly set precedent for a concerto “form”; this form
codified in the classical era. The first movement of a concerto was almost always in a sonata-
allegro form, many times with a double exposition. The orchestral interlude (a sort of ritornello
leading in the solo voice), preceded the “true” formal exposition of the work. Oftentimes the
harmonic territory that the first orchestral exposition explored foreshadowed the harmonic
motion in the solo part. Classical era composers who seemed to codify this concerto form were
Haydn, and eventually Mozart. Earlier than Mozart, Telemann in his Viola Concerto in G
codified this relationship. Mozart is a trickier beast as his earlier works do fit a more standard
concerto form, in the style of his teacher Haydn, but his later works (especially the curious
Sinfonia Concertante) seem to stretch the melodic capabilities of the solo voices. The orchestra
becomes more of an accompanist to the more complex contouring in the soloists.
RITORNELLO FORM
 

Briefly summarize features of ritornello form. 

The “ritornello” in ritornello form is a repeating orchestral interlude alternating with music of a
freer nature.
 
 

What composer is mainly credited with the development of ritornello form?

While Venetian composer Giovanni Gabrieli is credited with starting the conception of an
alternating tutti passage, Vivaldi is truly the composer who brought the fork to a standardized
high. He wrote hundreds of concertos with this consistent template.

How were ritornello techniques transmitted across Europe from its “home” country?

The techniques in Vivaldi’s music were likely funneled across Europe in direct proportion to the
selling of his music. As well as the fact that ritornello form was derived from the opera – an ever
popularized genre.

Referring to the attached score, provide measure numbers for what you think are the Vordersatz,
Fortspinnung, and Epilog.

Vordersatz: mm 1 - 3

Fortspinnung: mm 4 - 8

Epilog: mm 9 - 12