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MUC-311 Form & Analysis:: Concerto Forms

The document summarizes various concerto forms: 1) Baroque Ritornello Form involved alternating sections between a ritornello (the full ensemble) and soloist, with the ritornello presenting most of the thematic material. 2) Classical concertos blended elements of sonata form and ritornello form, featuring two expositions, a development section, and recapitulation with cadenza. 3) Romantic concertos condensed the double exposition into a single exposition with the orchestra and soloist, featuring more abrupt contrasts and expanded tonality.

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109 views9 pages

MUC-311 Form & Analysis:: Concerto Forms

The document summarizes various concerto forms: 1) Baroque Ritornello Form involved alternating sections between a ritornello (the full ensemble) and soloist, with the ritornello presenting most of the thematic material. 2) Classical concertos blended elements of sonata form and ritornello form, featuring two expositions, a development section, and recapitulation with cadenza. 3) Romantic concertos condensed the double exposition into a single exposition with the orchestra and soloist, featuring more abrupt contrasts and expanded tonality.

Uploaded by

Mitchell McVeigh
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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MUC-311

Form & Analysis:


Concerto Forms
Baroque Ritornello Form, Concerto-Sonata Form, Cadenzas,
and Romantic Concertos
Concerto Form Basics
• All feature soloist and alternate soloist with larger group
accompaniment called the Ritornello;
• Classical and Romantic Concertos evolved from Baroque
Ritornello Form and incorporate elements of sonata form;
• Thematic presentations are often given to both soloist and
ritornell, but developmental material given to the soloist;
Baroque Ritornello Form
• A ritornello is a passage featuring the whole ensemble
(literally, it means “return”);
• Ritornello Form involves regular alternation between
ritornellos and solo sections throughout an entire movement;
• Middle sections are in various closely related keys (especially
R3), final ritornellos section is in tonic.
• Common in the first and last movements of Baroque
concertos;
• Ritornello presents most of the thematic material; soloist has
development material;
Baroque Ritornello Example
Vivaldi, Four Seasons, “Summer,” First Movement

R1 S1 R2 S2 R3 S3 R4
m. 30 m. 49 m. 58 m. 77 m. 116 m. 155 end
g: PAC IAC PAC HC d: PAC g: PAC PAC

Listen and follow along in your anthology beginning on p. 407.


Concerto Grosso
• Baroque Concerto with a group of soloist against a larger
ensemble.
• Larger ensemble is referred to as the ripieno;
• Group of soloist are referred to as the concertino;
• More popular in the early Baroque, slowly replaced by solo
concertos in late Baroque, and almost entirely displaced by
solo concerto in Classical and Romantic periods.
• Most concertos are in 3 movements (fast-slow-fast, Bach and
Vivaldi), some composers wrote 4-6 movements (Corelli and
Handel);
Bach, Brandenburg Concerto No. 1, first movement
Classical Concerto:
Concerto-Sonata Form
• Usually the first movement of Classical-period concertos.
• Blending of Sonata Form and ritornello form.
• Two expositions (double exposition): an orchestral exposition & a solo exposition.
• Each exposition has a PTA-trans-STA-closing.
• The STA in the orchestral exposition will not usually modulate.
• Development.
• Recapitulation (with cadenza)

Exposition Development Recapitulation

R1 S1 R2 S2 R3 S3 R4
Orchestral Soloist Development w/retrans Recapitulation w/Cadenza
PTA tr STA Cl PTAExposition
Exposition tr STA Cl Mostly soloist Usually only 1 of the expositions
I I I V
Cadenzas
Exposition Development Recapitulation

R1 S1 R2 S2 R3 S3 R4

Cadenza
• Unaccompanied cadenza often occurs just before or in the middle of the
closing section (R4).
• Cadenzas were often improvised and show off the skill of the performer.
• Many cadenzas are now written out and you can sometimes purchase
differently composed cadenzas for the same work.
• Harmonically, a Cadenza happens over a cadential I6
4
• The orchestra plays the cadential I 6and stops
4
• The soloist improvises over that last chord for as long as they want
• The soloist singles the orchestra that they are done by emphasizing a move
to the V7 of the cadential I (usually
6 with a trill on scale degree 2)
4
Classical Concerto: Concerto-
Sonata Form Example
Mozart, Piano Concerto in D Major, K. 107, I

Exposition Development Recapitulation

R1 S1 R2 S2 R3 S3 R4

PTA tr STA Cl PTA tr STA Cl Modulates; retransition Soloist Expo; Cadenza interrupts R4
I I I V All in tonic

Listen and follow along in your anthology beginning on p. 341.


Romantic Concerto
• The opening double expositions are condensed into one
exposition with orchestra and solo
• Abrupt contrasts
• Tonal fluctuations and expanded tonality: chromatic mediant
relationships
• Example: Brahms, Violin Concerto in D Major, First Movement

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